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W    IJ«/I'  <     *IV  I 


This  is  one  of  an  edition  of  two  hundred  and  fifty 
copies  printed  from  type  for  the  Dunlap  Society  in  the 
year  nineteen  hundred  and  two. 


PLAYS 
OF  THE  PRESENT 

BY 

JOHN   BOUVE  CLAPP 

AND 

EDWIN   FRANCIS  EDGETT 


NEW-YORK 

THE   DUNLAP  SOCIETY 

1902 


Copyright  by 

John  Bouve  Clapp 

and 

Edwin  Fkancis  Edgett 

1902 


• « 

V « « 


TN 

C53p 


PREFACE  AND  REVIEW 

The  first  series  of  fifteen  books  issued  by  the  Dun- 
lap  Society  from  1886  to  1891  was  suspended  in 
the  latter  year,  owing  to  the  lamented  loss  of  some 
of  its  most  earnest  workers  and  to  onerous  duties 
in  other  fields  of  literature  preventing  the  labors 
of  others.  It  was  found  impossible  to  replace 
Edwin  Booth,  Thomas  J.  McKee,  Harry  Edwards, 
Brander  Matthews,  Laurence  Hutton,  John  H.  V. 
Arnold,  and  William  Carey. 

The  second  series  also  exhausted  its  most  active 
laborers  and  closed  with  the  past  year,  having 
issued  the  same  number  of  volumes  between  the 
years  1896  and  1901,  leaving  in  the  careful  hands 
of  Treasurer  Daniel  Frohman  a  goodly  balance  in 
cash  received  from  subscribers,  sales  of  back  num- 
bers, etc.,  which  has  been  expended,  by  general 
desire,  in  the  present  "extra  volume." 

For  this,  a  fitting  appendix  to  the  valuable  set 
of  "Players  of  the  Present,"  by  the  same  authors, 
we  are  indebted  to  the  laborious  care  of  John 
Bouve  Clapp  and  Edwin  Francis  Edgett,  to  whom. 


2G'"":'J 


viii  ^tdate  anti  lllcbichj. 

with  William  Winter,  William  L.  Keese,  and  other 
well-known  writers,  the  society  is  under  serious 
obligations. 

Neither  in  the  "Players"  nor  the  "Plays"  has 
any  invidious  distinction  been  made,  nor  any  at- 
tempt to  criticize  or  eulogize  the  authors  or  actors, 
the  intention  being  simply  to  give  such  accessible 
biographies  or  accounts  as  will  be  of  service  for 
their  accuracy  and  of  interest  to  the  members. 

This  volume  has  grown  largely  through  re- 
searches among  play-bills  and  books  in  the  prepa- 
ration of  newspaper  notices  of  the  various  plays 
that  have  been  seen  on  the  American  stage  during 
the  last  half  century.  It  was  originally  intended 
to  include  such  plays  as  "Uncle  Tom's  Cabin," 
"Camille,"  "Don  Caesar  de  Bazan,"  "East  Lynne," 
and  others  which  even  at  present  are  frequently 
repeated,  but  comprehensive  accounts  of  them 
would  have  far  outrun  the  limits  of  the  present 
volume.  This  will  be  seen  by  referring  to  the  ar- 
ticles within  describing  "Caste"  and  "Still  Waters 
Run  Deep,"  which,  even  in  their  final  shape,  are 
as  brief  as  possible.  No  attempt  at  a  complete 
record  of  plays  has  been  undertaken,  for  such  a 
plan  would  require  dozens  of  volumes  of  this  size. 

These  limitations  also  preclude  the  possibility 
of  mentioning  many  plays  of  the  present  day,  such 
as  "The  Lost  Paradise,"  "D'Arcy  of  the  Guards," 
"Charley's  Aunt,"  "Madame  Sans  Gene,"  "Shore 
Acres,"  and  "Lovers'  Lane." 


preface  and  HcbiotD. 


IX 


It  is  hoped  that  the  selection,  Hmited  as  it  neces- 
sarily is,  will  be  found  interesting,  and  the  thirty- 
four  character  portraits,  artotyped  by  the  Bier- 
stadt  process,  acceptable  to  the  members  of  the 
Dunlap  Society. 

Douglas  Taylor. 


^lai>s  of  ti)e  present* 


The  Adventure  of  Lady  Ursula,  a  romantic 
comedy  in  four  acts  by  Anthony  Hope,  was  pro- 
duced by  Edward  H.  Sothern  at  the  Broad  Street 
Theatre,  Philadelphia,  on  December  6,  1897.  The 
cast : 

Sir  George  Sylvester E.  H.  Sothern. 

The  Earl  of  Hassendcn Roydon  Erlynne. 

The  Rev.  Mr.  Blimboe Owen  Fawcett. 

Mr.  Dent  Morton  Selten. 

Mr.  Castleton  Arthur  R.  Lawrence. 

Mr.  Robert  Clifford  Marshall  Stedman. 

Mr.  Ward Daniel  Jarrett. 

Mr.  Devereux George  E.  Bryant. 

Quilton  Rowland  Buckstone. 

Mills   C.  P.  Flockton. 

Servant  John  J.  Collins. 

Footman  Norman  Parr. 

Miss  Dorothy  Fenton Rebecca  Warren. 

Mrs.  Fenton  Kate  Pattison-Selten. 

The  Lady  Ursula  Barrington  . . .  Virginia  Harned. 

The  essence  of  "The  Adventure  of  Lady  Ur- 
sula" is  purely  romantic,  its  story  entrancingly  in- 
teresting, and  the  manner  of  telling  as  logical  as  it 
is  amusing.    Its  plot  deals  with  the  romantic  esca- 


2  ^Jap^  of  tjc  J)trc^cnt. 

pade  of  a  young  lady  of  fashion  in  the  early  part 
of  the  eighteenth  century,  its  scene  is  laid  in  Lon- 
don, and  the  time  of  the  action  is  condensed  within 
the  hours  of  four  o'clock  in  the  afternoon  of  an  Oc- 
tober day  and  one  o'clock  the  next  morning.  The 
important  characters  are  two  in  number — Lady  Ur- 
sula Barrington  and  Sir  George  Sylvester — and 
they  carry  the  entire  burden  of  the  play  on  their 
shoulders.  There  is  no  underplot ;  the  action  moves 
swiftly  and  steadily  toward  a  single  goal ;  the  inter- 
est is  sustained  and  the  suspense  active  until  the 
fall  of  the  final  curtain.  Two  of  the  classic  unities 
— the  two  most  important  ones,  be  it  noted — are 
preserved,  and  to  that  fact  is  due  the  intensity  of 
the  story  and  the  rapidity  of  the  action. 

During  the  remainder  of  the  season  of  1897- 
1898  "The  Adventure  of  Lady  Ursula"  was  played 
in  Boston,  Chicago,  Washington,  and  other  lead- 
ing theatrical  centres.  It  did  not  reach  New  York 
until  September  i,  1898,  when,  at  the  Lyceum 
Theatre,  Mr.  Sothern  began  his  annual  metropoli- 
tan engagement,  the  cast  being  identical  with  that 
of  the  opening  performance  in  Philadelphia. 

At  the  Duke  of  York's  Theatre,  on  October  11, 
1898,  "The  Adventure  of  Lady  Ursula"  was 
played  for  the  first  time  in  London,  Herbert  War- 
ing appearing  as  Sir  George  Sylvester  and  Evelyn 
Millard  as  Lady  Ursula  Barrington.  It  was  as  well 
received  in  England  as  in  this  country,  and  has 
been  frequently  revived. 


VIRGINIA  HARNED. 

As   Lady   Ursula. 


J)lap^  of  tl)c  5prc.i^ntt»  3 

L'AiGLOX,  a  drama  in  six  acts  by  Edmond  Ros- 
tand, was  produced  at  the  Theatre  Sarah  Bern- 
hardt in  Paris  on  ]\Tarch  15,  1900,  with  Bernhardt 
in  the  title  role,  Guitry  as  Flambeau,  Calmettes  as 
Metternich,  and  Maria  Legault  as  Marie  Louise. 
The  American  rights  were  immediately  secured  by 
Charles  Frohman,  a  translation  was  made  by  Louis 
N.  Parker,  and  the  first  performance  in  America 
was  given  at  the  Academy  of  JMusic,  Baltimore,  on 
October  15,  1900,  with  Maude  Adams  in  the  title 
role,  J.  H.  Gilmour  as  Flambeau,  Edwin  Arden  as 
Metternich,  and  Ida  Waterman  as  Marie  Louise, 
It  opened  in  New  York  at  the  Knickerbocker  Thea- 
tre on  October  22,  1900,  and  was  performed  there 
and  in  other  American  cities  throughout  the  season 
of  1900-1901.  The  first  performance  of  the  origi- 
nal version  in  this  country  was  given  at  the  Garden 
Theatre,  New  York,  November  26,  1900,  with 
Bernhardt  in  the  title  role,  Coquelin  as  Flambeau, 
Desjardins  as  Metternich,  and  Madame  Mea  as 
Marie  Louise.  This  was  the  beginning  of  the 
American  starring  tour  of  these  celebrated  French 
players,  and  "L'Aiglon"  formed  a  prominent  part 
of  their  repertory  in  New  York  and  other  cities. 

The  Amazons,  a  farcical  romance  in  three  acts 
by  Arthur  W.  Pinero,  was  produced  at  the  Royal 
Court  Theatre,  London,  March  7,  1893,  under  the 
management  of  Arthur  Chudleigh,  the  cast  being 
as  follows : 


g^Iapjgf  of  tljc  i^ire^mt* 


Galfred,  Earl  of  Tweenwayes Weedon  Grossmith. 

Barrington,  Viscount  Litterly  ....  Frederick  Kerr. 

Andre,  Count  de  Grival Mr.  Elliott. 

Rev.  Roger  Minchin J.  Beauchamp. 

Fitton    W.  QuiNTON. 

Youatt      COMPTON    COUTTS. 

Orts  R.  Nainby. 

Miriam,  Marchioness  of  Castlejor- 

dan  Rose  Leclercq. 

Lady  Noeline  Belturbct Lily  Hanbury. 

Lady  Wilhelmina  Belturbet Ellaline  Terriss. 

Lady  Thomasin  Belturbet Pattie  Browne. 

''Sergeant"  Shuter Marianne  Caldwell. 

Although  "The  Amazons"  preceded  "The  Sec- 
ond Mrs.  Tanqueray"  on  the  stage  by  over  two 
months,  it  was  really  a  later  work,  and  was  writ- 
ten by  Mr.  Pinero  simply  to  indulge  a  playful 
fancy  after  his  more  serious  efforts  with  the  prob- 
lem drama.  "The  Amazons"  ran  at  the  Royal 
Court  Theatre  until  July  8,  1893,  when  one  hun- 
dred and  eleven  performances  had  been  given,  a 
record,  however,  which  does  not  equal  the  achieve- 
ments of  "The  Magistrate,"  "The  Schoolmistress," 
or  "Dandy  Dick."  It  was  performed  for  the  first 
time  in  America  at  the  Lyceum  Theatre,  New 
York,  under  the  management  of  Daniel  Frohman, 
on  February  19,  1894,  and  ran  there  for  a  period  of 
over  four  months,  the  cast  being: 

Galfred,  Earl  of  Tweenzvayes  . .  Ferdinand  Gottschalk. 
Barrington,  Viscount  Litterly  . .  Herbert  Kelcey. 

Andre,  Count  de  Grival Fritz  Williams. 

Rev.  Roger  Minchin  Charles  Walcot. 

Fitton  Ernest  Tarleton. 

Youatt   Howard  Morgan. 


$)Iap.sf  of  tfjc  ¥)rc.!^nit* 


Orfs    Robert  Weed. 

Miriam,  Marchioness  of  Castle- 

jordan    ]\Irs.  Charles  Walcot. 

Lady  Nocline  Beltiirhct Georgia  Cayvan. 

Lady  JVilhehniiia  Bclturbct  ....  Katharine  Florence. 

Lady  Thomasin  Bclturbct Bessie  Tyree. 

"Sergeant"  Shuter  Mrs.  Thomas  Whiffen. 

The  following  season  "The  Amazons"  was  acted 
in  the  leading  theatres  of  the  United  States  by  the 
Lyceum  Company,  for  a  part  of  the  time  Isabel 
Irving  replacing  Georgia  Cayvan  in  the  character 
of  Lady  Noeline.  Another  company,  under  the 
management  of  Charles  Frohman,  was  organized 
to  satisfy  the  public  demand  for  Mr.  Pinero's  play 
during  the  winter  of  1894-1895,  and  appeared  in 
various  American  cities.  The  cast  included  Maude 
Odell  as  Lady  Noeline,  Elaine  Eillson  as  Lady 
Wilhelmina,  and  Johnstone  Bennett  as  Lady 
Thomasin.  Since  then  "The  Amazons"  has  been 
played  at  intervals  in  the  English  provinces,  in 
Australia,  and  in  America. 

The  Ambassador,  a  comedy  in  four  acts  by  John 
Oliver  Hobbes,  was  produced  at  the  St,  James 
Theatre,  London,  on  June  2,  1898,  with  the  fol- 
lowing cast  of  characters : 

Lord  St.  Orbyn  George  Alexander, 

Sir  William  Bcativcdere H.  B.  Irving. 

Vivian  Bcanvcdere  H.  V.  Esmond. 

Major  Hugo  Lascelles Fred  Terry. 

Sir  Charles  de  Lorme,  G.C.S.I Arthur  Royston. 

Lord  Lavensthorpe  Bertram  Wallis. 

I* 


Pap^  of  tfjc  prci^cnt. 


Lady  Bcauvedcre   Violet  Vanbrugh. 

Juliet  Gainsborough Fay  Davis. 

Alice  Gainsborough  Miss  W.  Dolan. 

Lady  Gwendolcne  Marleaze Hilda  Rivers. 

Tlie  Princess  V endramini  Miss  Granville. 

The  Duchess  of  Hampshire Mrs.  G.  Kemmis. 

Lady  Easier  Kate  Sargeantson. 

Lady  Ullweather  May  Pardoe. 

Lady   Vanringham   Leila  Repton. 

Mrs.  Dasney  Carlotta  Nilsson. 

Mrs.  Whitcombe  J.  Taylorson Frances  Ivor. 

Miss  Kate  Taylorson Mary  Jerrold. 

Miss  Yolande  Taylorson  Imogen  Surrey. 


"My  plot  is  conditioned  by  character,  as  opposed 
to  the  characters  being  conditioned  by  incident," 
Mrs.  Craigie  remarked,  after  the  production  on  the 
stage.  "For  my  model  I  have  gone  to  Moliere — 
the  earlier  Moliere,  before  he  began  to  be  didactic 
and  wrote  'Tartuffe'  and  'The  Misanthrope.'  I 
have  endeavored  to  follow  Pailleron,  the  author  of 
'Les  Cabotins'  as  well  as  'Le  Monde  ou  Ton  s'en- 
nuie.'  "  In  reply  to  a  question  as  to  her  preference 
between  the  medium  of  the  printed  book  and  the 
medium  of  the  acted  play,  Mrs.  Craigie  said :  "Do 
you  know  that  I  have  only  written  novels  that  I 
might  write  plays?  Why  not?  This  is  the  only 
country  where  one  doubts  the  possibility  of  equal 
ease  in  the  two  mediums.  Sudermann  does  both ; 
look  at  Dumas,  Octave  Feuillet,  George  Sand — 
a  prominent  example — De  Musset,  and  Balzac, 
though  Balzac  was  not  a  great  success  as  a  play- 
wright." 

The  American  rights  to  "The  Ambassador"  hav- 


5f)Iitp^  of  tf^t  prc^mt,  7 

ing  been  secured  by  Daniel  Frohman,  it  was  pro- 
duced in  New  York,  at  Daly's  Theatre,  on  Feb- 
ruary 5,  1900,  when  the  cast  was : 

Lord  Sf.  Orbyn John  Mason. 

Sir  jVilUam  Bcauvcdere  Edward  Morgan. 

Vivian  Bcaiivedere   William  Courtenay. 

Major  Hugo  Lascclles Charles  Walcot. 

Lord  Lavcnsthorpe  H.  S.  Taber. 

Lady  Bcauvedere Hilda  Spong. 

Juliet  Gainsborough  Mary  Mannering. 

Alice  Gainsborough   Grace  Elliston. 

Lady  Gwendolene  Marleacc  Elizabeth  Tyree. 

The  Princess  Vendramini Rhoda  Cameron. 

Lady  Easier Mrs.  Walcot. 

Lady  Ullweather  Ethel  Hornick. 

Mrs.  Dasney   Allison  Skipworth. 

Lady  Vanringham Eugene  White. 

The  Duchess  of  Hampshire Minnie  Bowen. 

Mrs.  Taylorson Mrs.  Jackson. 

Miss  Kate  Taylorson  Beatrice  Morgan. 

Miss  Yolande  Taylorson Miss  Kelleher. 

Mamie  "      Lewis. 

Sir  Charles J.  L.  Weber. 

Lord  Reggie  A.  S.  Howson. 

In   1898  "The  Ambassador"  was  published  in 
New  York  by  Frederick  A.  Stokes  Company. 

Aristocracy,  a  drama  in  four  acts  by  Bronson 
Howard,  was  produced  at  Palmer's  Theatre,  New 
York,  on  November  13,  1892.    The  cast  was; 

Jefferson  Stockton  Wilton  Lackaye. 

Virginia  Stockton Viola  Allen. 

Diana  Stockton  Blanche  Walsh. 

Sheridan    Paul  Arthur. 

Mr.  Hamilton  Stuart  Laurence.  W.  H.  Thompson. 

Mrs.  Laurence,  nee  Ten  Broeck.  Helen  Tracy. 


8  pap^  of  tf)c  present 

Katharine    Ten    Broeck    Lau- 
rence   Josephine  Hall. 

Stiiyvesant  Laurence   S.  Miller  Kent. 

Prince  Emil  von  Haldenzvald  .   William  Faversham. 
Octave,  Due  de  Vigny-Volante.  Frederic  Bond. 
The  Marquis  of  N ormandale  . .  J.  W.  Pigott. 
The  Earl  of  Caryston  Leigh  . . .   Bruce  McRae. 
Grimthorpe  Henry  W.  Montgomery. 

"Aristocracy"  lived  on  for  several  months  at  Pal- 
mer's Theatre,  and  then,  after  the  customary  tour 
through  some  of  the  larger  cities  of  the  United 
States,  it  passed  out  of  public  view,  excepting  only 
the  occasional  lease  of  life  for  a  week  or  so  which 
it  receives  at  the  hands  of  some  obscure  stock  com- 
pany, A  critic  of  the  day  remarked:  "As  every 
theatre-goer  will  probably,  sooner  or  later,  see 
'Aristocracy,'  we  will  not  rub  the  bloom  off  its 
plot  by  retailing  it  here.  It  is  sufficiently  lurid  to 
satisfy  the  most  exacting  taste,  and  improbable 
enough  to  make  even  the  amiable  M.  Sardou  green 
with  envy.  It  is  cleverly  enough  worked  out ;  Mr. 
Howard  is  an  old  hand  and  knows  his  stage  pass- 
ing well.  There  are,  too,  many  bright  spots  in  his 
dialogue — when  he  forgets  for  a  moment  his  aspi- 
rations toward  elegance,  and  lets  his  native  wit 
speak.  For  Mr.  Howard  knows  how  to  be  witty, 
and  in  a  dramatically  effective  way,  too,  although 
his  sense  of  humor  is  somewhat  feeble." 


Arizona,    a    drama    in    four   acts    by    Augustus 
Thomas,  was  produced  at  Hamlin's  Grand  Opera 


5^Iap^  of  tijc  present.  9 

House,  Chicago,  on  Alonday,  June  12,  1899.    The 
cast: 

Henry  Canby  Theodore  Roberts. 

Colonel  Bonham  Edwin  Holt. 

Sam  Wong  Stephen  French. 

Mrs.  Henry  Canby  Mattie  Earle. 

Estrella  Bonham  Mabel  Bert. 

Lena  Kellar Adora  Andrews. 

Lieutenant  Denton  Robert  Edeson. 

Bonita  Canby  Olive  May. 

Miss  MacCullagh   Edith  Athelstone. 

Dr.  Fenlon   Samuel  Edwards. 

Captain  Hodgman   Arthur  Byron. 

Tony  Mostano  Vincent  Serrano. 

Lieutenant  Hallock Franklin  Garland. 

Sergeant  Kellar Walter  Hale. 

Lieutenant  Young Lionel  Barrymore. 

Major  Cochran Menifee  Johnstone. 

In  "Arizona,"  Mr.  Thomas  added  another  to  his 
series  of  plays  named  after  the  states,  and  in  this 
instance  the  drama  was  so  purely  American  in  plot 
and  action  that  the  name  was  rightly  applied.  The 
piece,  while  essentially  a  melodrama,  had  enough 
of  spontaneous  national  humor  to  give  it  at  times 
a  strong  comedy  flavor.  While  avoiding  the  crudi- 
ties of  every-day  life  in  a  new  state,  the  dramatist 
held  the  mirror  up  to  nature  in  a  manner  that  could 
only  excite  admiration  for  his  artistic  skill ;  for 
although  the  play  does  not  end  conventionally,  it  is 
yet  worked  out  to  an  ending  that  pleases  the  audi- 
ence, while  at  the  same  time  it  does  no  violence 
to  the  probabilities  of  the  case. 

The  original  cast  contained  several  names  well 


lO 


|)Iap^  of  tjc  5prci6fcnt. 


known  on  the  American  stage,  and  great  attention 
was  paid  to  the  details  of  the  production,  the  scen- 
ery being  painted  from  photographs  of  the  locaH- 
ties  in  Arizona  where  the  action  took  place,  and 
even  the  supernumeraries,  who  were  so  prominent 
in  several  of  the  scenes,  were  carefully  trained,  so 
that  nothing  was  wanting  to  make  the  production 
a  success.  An  incident  occurred  the  opening  night 
which  showed  how  carefully  Mr.  Thomas  prepared 
his  effects.  Among  the  stage  troops  were  two 
sturdy  fellows  who  had  marched  to  Cuba  with  one 
of  the  Chicago  regiments,  and  their  entrance  was 
foretold  by  the  playwright  in  a  curtain  speech 
shortly  before  they  appeared.  The  stage  soldiers 
were  exactly  military  and  correct  until  these  tanned 
veterans  of  a  month  entered,  bearing  the  indisput- 
able brand  of  discipline  in  the  mock  delivery  of  the 
real  manual  as  demanded  by  the  play.  Three  steps, 
a  turn,  machine  exactness  in  handling  the  guns, 
and  the  unmistakable  soldier  carriage,  and  the  au- 
dience broke  into  wild  applause  which  stopped  the 
play,  for  the  American  theatre-goer  is  fond  of  a 
real  hero  on  the  stage. 

The  success  of  "Arizona"  was  immediate  and 
genuine.  It  became  evident  at  once  that  the  drama- 
tist had  found  a  theme  that  interested  the  public, 
and,  after  an  extended  engagement  in  Chicago,  the 
play  was  brought  East  and,  with  a  somewhat  dif- 
ferent cast,  was  presented  in  Boston  in  the  winter, 
where  it  ran  for  four  weeks.  Then  it  was  seen  in 
various  cities,  finally  reaching  New  York  in  Sep- 


5plap^  of  ti)c  JDrc^efmt* 


II 


tember  of  the  following  year,  when  it  began  an  ex- 
tended engagement  at  the  Herald  Square  Theatre. 
Meanwhile,  several  road  companies  were  touring 
the  country  with  the  new  play,  and  wherever  it  was 
presented  its  merit  instantly  appealed  to  theatre- 
goers. On  February  3,  1902,  it  was  brought  out  in 
London,  its  success  there  being  assured  when  the 
king  attended  one  of  the  first  performances.  The 
English  critics  declared  it  second  only  to  "Secret 
Service,"  which  had  proved  a  great  favorite  in 
England,  so  that  while  "Arizona"  cannot  be  called 
the  best  of  Mr.  Thomas's  plays,  it  bids  fair  to  be 
the  most  popular. 

L'Arlesienne  of  Alphonse  Daudet,  originally  pro- 
duced at  the  Vaudeville,  in  Paris,  October  i,  1872, 
w^as  performed  for  the  first  time  in  America,  in  an 
English  version  by  Charles  Henry  Meltzer,  at  the 
Broadway  Theatre,  New  York,  on  March  22,  1897. 
Mr.  Meltzer's  version  was  in  four  acts,  and  the 
music  by  Georges  Bizet,  comprising  overture,  in- 
terludes, choruses,  and  melodramas,  was  performed 
by  an  orchestra  under  the  direction  of  Anton  Seidl. 
The  rehearsals  were  directed  by  David  Belasco  and 
Eugene  W.  Presbrey,  and  the  cast  was : 

Rose  Mamai Agnes  Booth. 

Renaude Rose  Rand. 

Vivette  Mary  Haines. 

f,       .        ,,   . ,  5     K.  McCoRMACK. 

Serving  Maids ij    ^j^^  Galyer. 

The  Innocent Florence  Thornton. 

Francet  Mamai  Augustus  Cook. 


12  ^^i^V^  of  t!)e  JDrcfifcnt 


Balthazar Charles  Kent. 

Mitifio    Walter  Craven. 

Marc Horace  Lewis. 

Farm  Hand   Darwin  Rudd. 

Frcderi  Mama'i John  E.  Kellerd. 

The  American  public,  or  rather  that  section  of  it 
which  makes  up  the  average  body  of  New  York 
theatre-goers,  found  nothing  to  admire  in  the  fine 
workmanship  of  Alphonse  Daudet  as  shown 
through  the  excellent  translation  by  Mr.  Meltzer, 
and  the  piece  was  withdrawn  after  only  a  few  per- 
formances.   It  has  not  since  been  revived. 

Arms  and  the  Man,  a  romantic  comedy  in  three 
acts  by  George  Bernard  Shaw,  was  produced  at 
the  Avenue  Theatre,  London,  on  April  21,  1894. 
For  about  ten  years  Mr.  Shaw  had  been  engaged 
on  the  London  press  successively  as  music,  art, 
and  dramatic  critic,  and  during  that  period  he  had 
turned  his  hand  to  all  sorts  of  literary  work. 
"Arms  and  the  Man"  ran  at  the  Avenue  Theatre 
from  April  21  to  June  7,  1894.  The  cast  of  charac- 
ters was  as  follows : 

Major  Paul  Pctkoff James  Welch. 

Major  Sergius  Saranoff Bernard  Gould. 

Captain  Bluntschli Yorke  Stephens. 

Major  Plechanoff A.  E.  W.  Mason. 

Nichola Orlando  Barnett. 

Catherine  Petkoff   Mrs.  Charles  Calvert. 

Raina  Petkoff Alma  Murray. 

Louka   Florence  Farr. 

Although  its  scenes  were  laid  in  Bulgaria  for  the 
sake  of  giving  a  fantastic  and  picturesque  atmo- 


5f)ltipj9f  of  tf^t  prc^nit*  13 

sphere,  the  play  proved  to  be  a  keen  and  pungent 
satire  upon  modern  EngHsh  life.  The  general  pub- 
lic, however,  refused  to  take  ]\Ir.  Shaw's  humor 
seriously,  and  in  consequence  he  contributed  an 
essay  to  the  'Tortnightly  Review"  explaining  his 
motives  in  attempting  so  severe  an  arraignment  of 
modern  society.  This  did  not  suffice,  and  "Arms 
and  the  Man"  has  remained  caviare  to  the  general. 
Even  William  Archer,  in  spite  of  his  personal 
friendship  for  IVIr.  Shaw,  has  not  been  able  to  ap- 
preciate the  dramatist's  view-point.  "And  amid  all 
his  irresponsible  nonsense,"  he  wrote,  "he  has  con- 
trived, generally  in  defiance  of  all  dramatic  consis- 
tency, to  drag  in  a  great  deal  of  incidental  good 
sense.  I  begin  positively  to  believe  that  he  may 
one  day  write  a  serious  and  even  an  artistic  play,  if 
only  he  will  repress  his  irrelevant  whimsicality,  try 
to  clothe  his  character  conceptions  in  flesh  and 
blood,  and  realize  the  difference  between  knowing- 
ness  and  knowledge." 

"Arms  and  the  Man"  was  presented  by  Richard 
Mansfield  for  the  first  time  in  the  United  States 
as  the  opening  attraction  at  the  Herald  Square 
Theatre  in  New  York  on  September  17,  1894,  the 
cast  of  characters  being  as  follows : 


Major  Paul  Petkoff Henry  M.  Pitt. 

Major  Scrgius  Saranoff Henry  Jevvett. 

Captain  BluntscIiH Richard  Mansfield. 

Nichola    Walden  Ramsay. 

Catherine  Petkoff Mrs.  McKee  Rankin. 

Raina  Petkoff  Beatrice  Cameron. 

Louka Amy  Busby. 


14  ¥^Jiip^  of  tijc  ^rc^cttt* 

The  character  of  Major  Plechanoff  does  not  ap- 
pear on  the  bills  of  any  of  Mr.  Mansfield's  per- 
formances, nor  in  the  printed  play,  and  was  appar- 
ently cut  out  soon  after  the  London  production. 
The  play  was  as  great  a  puzzle  as  ever,  and  when 
taken  to  Boston  actually  deceived  many  otherwise 
astute  people  into  thinking  that  its  satire  was  di- 
rected solely  against  the  real  Bulgaria !  It  was 
performed  at  the  Park  Theatre  on  November 
19,  1894,  the  changes  in  the  cast  introducing 
A.  G.  Andrews  as  Major  Paul  Petkoff,  W.  N. 
Griffith  as  Nichola,  and  Katherine  Gray  as 
Loiika. 

When  Mr.  Mansfield  opened  his  Garrick  Thea- 
tre in  New  York,  on  April  23,  1895,  "Arms  and  the 
Man"  was  the  attraction.  Since  then  he  has  per- 
formed it  occasionally,  but  unfortunately  not  as 
frequently  as  its  brilliant  merits  deserve.  In  1898 
Mr.  Shaw's  plays  were  published  by  Herbert  S. 
Stone  &  Company,  under  the  title  "Plays  Pleas- 
ant and  Unpleasant."  "Arms  and  the  Man"  ap- 
pears in  the  second  volume,  among  the  "pleasant" 
plays. 

Arrah-na-Pogue,  or  The  Wicklow  Wedding,  a 
drama  in  five  acts  by  Dion  Boucicault,  was  origi- 
nally tried  in  Dublin  in  November,  1864,  and  then 
produced  at  the  Princess's  Theatre,  in  London,  on 
March  22,  1865,  with  a  cast  made  up  of  these  noted 
actors : 


5^Iiip^  of  tfjc  prcjscnt  15 


Shaun-the-Post Dion  Boucicault. 

Colonel  Bagcnal  O'Grady John  Brougham. 

Beamish  McCoul H.  Vandenhoff. 

The  Secretary David  Fisher. 

Mr.  Michael  Feeny  Dominick  Murray. 

Fanny  Power  Pattie  Oliver. 

Arrah  Meelish  Agnes  Robertson. 


"Arrah-na-Pogue,"  "The  Colleen  Bawn,"  and 
"The  Shaughraun"  are  Boucicault's  greatest  Irish 
plays,  and  it  is  a  question  whether  "Arrah-na- 
Pogue"  should  be  placed  first  or  second.  One  of 
the  chief  attractions  of  the  play  on  its  first  presen- 
tation was  the  author's  excellent  acting  as  Shaun- 
the-Post,  Yet,  when  Boucicault  translated  it  into 
French,  and,  under  the  title  of  "Jean  la  Poste,  or 
Les  Noces  Irlandaises,"  it  was  brought  out  at  the 
Theatre  de  la  Gaiete,  Paris,  in  the  spring  of  1866, 
it  ran  for  one  hundred  and  forty  nights,  which 
proved  that  the  drama  itself  had  wonderful  draw- 
ing power.  At  the  Princess's  Theatre  the  play  was 
an  immediate  success,  running  uninterruptedly  for 
six  months,  and  it  was  revived  at  the  same  theatre 
two  years  later,  with  Mr.  and  Mrs.  Boucicault  in 
their  original  characters,  parts  which  afterward 
were  played  at  the  Adelphi  Theatre  in  London  by 
J.  C.  Williamson  and  Maggie  Moore.  Beamish  Mc- 
Coul has  always  been  a  favorite  character  for  ambi- 
tious actors,  and  in  England  has  been  taken  by  such 
players  as  William  Rignold,  G.  F.  Neville,  Charles 
Glenney,  and  William  Terriss,  Indeed,  the  last- 
named  actor  got  his  foot  on  the  first  round  of  the 


1 6  ^i^W  ^^  ^¥  ©tc^cnt, 

theatrical  ladder  through  this  particular  play.  In 
1867  hs  was  hanging  about  the  Prince  of  Wales's 
Theatre  in  Birmingham,  where  James  Rodgers,  a 
player  well  known  in  the  English  provinces,  was 
acting  Shaun-t he-Post,  though,  owing  to  his  im- 
mense proportions,  he  experienced  considerable  dif- 
ficulty in  carrying  out  some  of  the  scenes.  Terriss 
made  his  acquaintance,  and  as  the  result  of  the 
former's  expressed  determination  to  go  upon  the 
stage,  Rodgers  deputed  him  to  make  up  in  Shaun- 
the-Post's  costume  and  play  his  double  in  the  ivy- 
covered  tower  scene.  This  young  Terriss  did  with 
so  much  earnestness  that  he  was  honored  with  a 
curtain-call. 

Among  English  actors  who  have  been  seen  as 
Colonel  O' Grady  are  George  Vining,  Samuel  Em- 
ery, and  Henry  Neville,  while  Shiel  Barry  and 
Robert  Pateman  have  often  played  Michael  Feeny. 
Fanny  Power  is  popular  with  young  actresses,  and 
on  the  London  stage  has  been  done  by  Fanny 
Hughes,  Cissy  Grahame,  Amy  Roselle,  and  Miss 
Hudspeth.  The  piece  always  draws  well  in  Lon- 
don, and  in  one  of  its  last  revivals  there  Ellaline 
Terriss  acted  Arrah  Meelish  and  Arthur  Dacre 
Beamish  McCoul,  while  the  minor  parts  were  taken 
by  such  actors  as  Bassett  Roe,  for  some  time  a 
member  of  Julia  Marlowe's  company,  and  Henry 
Bedford,  who  starred  in  this  country  in  the  melo- 
drama of  "A  Grip  of  Steel"  during  the  season  of 
I 898-1 899. 


5plap)Sf  of  rt)c  prci5cnt.  17 

Boucicault  brought  out  "Arrah-na-Pogue"  in 
New  York  on  July  lo,  1865,  a  little  more  than  a 
year  after  its  production  in  London.  It  shows 
what  a  decided  change  has  taken  place  in  the  limits 
of  the  theatrical  season,  and  that  the  prejudice 
against  "summer  shows"  is  of  comparatively  re- 
cent origin,  %vhen  less  than  two  score  years  ago 
Boucicault,  shrewdest  of  stage  producers,  had  no 
hesitancy  in  giving  a  summer  production  of  one  of 
the  greatest  theatrical  successes  of  his  generation. 
On  this  side  of  the  water  the  play  has  been  given 
so  often  that  almost  every  American  player  of 
prominence  has  been  at  one  time  or  another  in  the 
cast,  although  no  one  has  ever  succeeded  in  better- 
ing the  part  which  the  author  created.  Among 
others  who  have  been  especially  successful  in  the 
piece  are  W.  E.  Sheridan,  whose  Colonel  O'Grady 
was  a  fine  characterization ;  H.  F.  Daly,  who  was 
always  well  received  in  the  small  part  of  the  Ma- 
jor; and  John  Mason,  who  proved  a  capital  Secre- 
tary. Boston  playgoers  will  always  remember  with 
pleasure  the  Colonel  O'Grady  of  the  famous  actor 
who  for  so  many  years  honored  the  Museum  with 
his  presence — the  great  William  Warren. 

L'Article  47,  a  drama  by  Adolphe  Belot,  was 
produced  at  the  Ambigu  Comique  in  Paris,  on 
October  20,  1871.  It  was  brought  out  with  great 
care  and  with  a  lavishness  of  expense  which  made 
it   at   once    an    artistic   and    a   financial    success. 


i8  S^Ii^p^  of  tijc  f^rc^nit* 

Georges  Diihamel  was  played  by  Regnier,  Cora  by 
Mile.  Rousseil,  and  Marcelle  by  Mile.  Grandet.  Its 
fame  was  not  long  in  crossing  the  ocean.  Augustin 
Daly  had  just  begun  his  third  season  as  manager 
of  the  Fifth  Avenue  Theatre  in  New  York,  and 
he  immediately  secured  the  rights  to  Belot's  drama. 
It  was  translated  at  once,  and  on  April  2,  1872, 
"Article  47"  was  produced  for  the  first  time  in  the 
United  States  at  Mr.  Daly's  theatre,  with  the  fol- 
lowing cast : 

Count  de  Rives G.  H.  Griffiths. 

President  of  the  Court D.  H.  Harkins. 

Dr.  Combes  William  Davidge. 

Henri  Delille Louis  James. 

Georges  Duhamel   Henry  Crisp. 

Victor  Masillier George  Parkes. 

Potain   James  Lewis. 

Old  Simon  W.  J.  Le  Moyne. 

Chatelard   Owen  Fawcett. 

Foreman  of  Jury  J.  H.  Burnett. 

Baroness  de  Mirac Fanny  Davenport. 

Cora Clara  Morris. 

Mme.  Duhamel Mrs.  G.  H.  Gilbert. 

Marcelle   Linda  Dietz. 

Although  Clara  Morris  had  made  more  than  one 
emphatic  success  as  a  member  of  Mr.  Daly's  com- 
pany, her  acting  of  Cora  created  a  sensation  of  al- 
most unparalleled  magnitude.  Making  her  first 
appearance  in  New  York  in  a  dramatization  of  Wil- 
kie  Collins's  "Man  and  Wife,"  she  had  shown  both 
critics  and  public  that,  in  spite  of  what  some  called 
the  "crudeness"  of  her  acting,  she  had  merit,  and 
merit  that  could  easily  be  brought  out  by  time  and 


g)Iapjef  of  tfjc  prc.i^mt*  19 

training.  As  soon  as  she  was  given  the  part  of 
Cora  in  "Article  47,"  she  resolved  to  do  all  that  was 
possible  toward  a  correct  interpretation  of  the  char- 
acter. She  studied  the  subject  of  insanity  from 
medical  books;  she  visited  asylums  for  practical 
illustrations  of  it.  She  practised  falls  such  as  she 
had  never  made  before,  and  thought  out  how  she 
should  occupy  herself  upon  the  stage  during  a 
long  period  in  which  she  had  little  to  say,  but  a 
great  deal  to  suggest. 

On  the  opening  night  she  was  fully  prepared  to 
play  Cora  with  all  her  heart  and  soul.  She  gave 
herself  up  to  the  character,  and  the  mad  scene,  with 
the  scream  and  final  fall,  fairly  electrified  the  audi- 
ence. Mr.  Daly,  who  was  watching  her  at  the 
wings,  rushed  forward  to  raise  her  to  her  feet  and 
found  her  half  insensible,  with  blood  flowing  from 
her  wrists,  which  had  been  terribly  lacerated  by 
her  bracelets  as  she  had  flung  herself  on  the  stage 
with  reckless  abandon.  The  next  day  her  imper- 
sonation was  the  talk  of  the  town;  all  New  York 
flocked  to  see  her ;  in  a  night  she  had  made  a  repu- 
tation. 

When  Miss  Morris  began  her  starring  tours  a 
few  years  later,  "Article  47"  was  made  a  leading 
feature  of  her  repertory,  and  remained  so  until 
her  retirement  from  the  stage. 

At  the  White  Horse  Tavern,  a  comedy  in  three 
acts  adapted  by  Sydney  Rosenfeld  from  the  Ger- 


20  ¥^lap^  of  tf^t  ^tc^cnt 

man  of  Oscar  Blumenthal  and  Gustave  Kadelburg, 
was  produced  at  Wallack's  Theatre  in  New  York 
on  February  6,  1899.  In  its  original  form,  "Im 
Weissen  Roess'l"  was  such  a  success  in  Germany 
and  Austria  that  its  authors  wrote  a  sequel,  "Wie- 
der  Im  Weissen  Roess'l"  ("At  the  White  Horse 
Tavern  Again"),  which  did  not  prove  a  success 
when  adapted  to  the  American  stage.  The  Ger- 
man play  was  first  seen  in  this  country  at  the  Irv- 
ing Place  Theatre  in  New  York  on  November  14, 
1898.  The  cast  at  Wallack's  Theatre  was  as  fol- 
lows: 


William  Giesecke Harry  Harwood. 

Charlotte  Eva  Vincent. 

Ottilie Miriam  Nesbitt. 

Frederick  Siedler  Joseph  Holland. 

Arthur  Sutro  Leo  Dietrichstein. 

Walter  Hinzelmann,  Ph.D Felix  Morris. 

Clara    Ruth  Berkeley. 

Joscpha    Amelia  Bingham. 

Leopold  Brand Frederic  Bond. 

Loidl Dore  Davidson. 

Rest    Elizabeth  Mayhew. 

Doctor  Bernbeck Douglas  J.  Wood. 

Emily  Bernbeck   Britta  Marti  Griffin. 

Old  Lady  Schmidt Eva  Aberle. 

Melanie  Schmidt Sadie  Lauer. 

Old  Cracker David  Elmer. 

A  Mountain  Tourist Charles  Marshall. 

Traveler  No.  i Foster  Lardner. 

Traveler  No.  2 James  P.  Corr. 

Kathi    Nellie  Butler. 

Franz   Charles  Halton. 

Piccolo  Louis  Albion. 

Lena   Anne  Singleton. 

Mali    Eleanor  Ritsoe. 

Martin   John  Maguire. 


5plapjSf  of  tijc  prcjscnt  21 

Joseph    William  Murphy. 

Porter    R.  Smiley. 

Captain  of  Steamboat Mayton  Joseph. 

Ticket  Taker  Edwin  Lloyd. 

Sepp   F.  Reynolds. 

"At  the  White  Horse  Tavern"  is  one  of  those 
bright  German  comedies,  verging  on  farce,  which 
can  be  faithfully  translated  and  retain  the  humor 
of  the  original,  or  adapted,  with  its  scenes  and  char- 
acters changed,  and  as  completely  spoiled  as  are 
many  of  the  German  plays  presented  on  our  stage. 
Air.  Rosenfeld  succeeded  in  retaining  the  spirit  of 
the  original  remarkably  well ;  once  or  twice  he  in- 
troduced an  up-to-date  English  expression  which 
sounded  out  of  place,  but  the  characters  were  so 
well  drawn  and  the  dialogue  so  bright  that  the  few 
lapses  were  easily  overlooked.  The  well-defined 
plot  was  worked  out  consistently  and  logically,  the 
characters  were  introduced  naturally,  not  forced 
into  the  action  of  the  piece,  and  if  the  playwright 
had  only  given  some  hint  as  to  the  cause  of  the 
disappearance  of  Charlotte,  the  sister  of  Giesecke, 
who  was  introduced  in  the  first  act  and  then  im- 
mediately dropped,  the  play  would  have  been  well 
nigh  flawless.  Mr.  Rosenfeld  erred  on  the  safe 
side  in  not  trying  to  improve  on  the  German  play, 
and  kept  some  names  of  people  and  places,  regard- 
less of  the  fact  that  a  German  pun  would  be  lost 
on  an  American  audience. 

]\Iany  of  the  original  cast,  including  Harry  Har- 
wood,  Joseph  Holland,  Felix  Morris,  and  Amelia 
2* 


22  S^Iap^  of  tl)c  ^rc^cnt* 

Bingham,  dropped  out  after  the  play  had  started 
on  its  travels.  All  of  those  named  were  seen  to 
good  advantage  in  it,  and  among  others  who  were 
especially  fortmiate  in  pleasing  the  public  were 
Miss  Keim,  Mr.  Bond,  Mr.  Dietrichstein,  and  Mr. 
Summerfield.  The  last  named  gave  a  unique  char- 
acter study  of  an  old  doctor  of  philosophy  which 
was  delightful  in  its  simplicity,  succeeding  Mr. 
Morris.  Among  those  who  were  prominent  in  the 
company  after  it  had  been  somewhat  changed  was 
Anne  Sutherland,  who  played  the  plump  and  pleas- 
ing hostess  so  well  that  her  acting  of  the  part  be- 
came the  standard  by  which  all  others  who  fol- 
lowed her  were  judged.  The  play  not  only  proved 
popular  as  presented  by  the  Frohmans,  but  the 
stock  companies  in  the  cities  throughout  the  coun- 
try have  given  it  with  equal  success. 

A  Bachelor's  Romance,  a  comedy  in  four  acts 
by  Martha  Morton,  was  produced  at  Wilkesbarre, 
Pennsylvania,  on  September  17,  1896.  The  play 
was  written  for  Sol  Smith  Russell,  and  after  being 
tried  in  the  smaller  towns  which  theatrical  man- 
agers like  to  visit  before  offering  their  wares  in  the 
large  centres,  was  given  at  the  Tremont  Theatre 
in  Boston  on  April  12,  1897,  with  the  following 
cast: 

David  Holmes Sol  Smith  Russell. 

Gerald  Holmes  Arthur  Forrest. 

Martin  Beggs George  W.  Denham. 


5^Iap.sf  of  tf)c  ^rcjGfcnt.  23 


Mr.  Savage George  Alison. 

Harold  Reynolds  Arthur  Hoops. 

Mr.  Mulberry Alfred  Hudson. 

James  George  Cooke. 

Sylvia Bertha  Creighton. 

Helen  LeGrand Beatrice  Moreland. 

Harriet  Leicester  Gertrude  Rivers  Alison. 

Miss  Clementina Fanny  Addison  Pitt. 

The  part  of  David  Holmes  naturally  fitted  Mr. 
Russell  well,  for  the  playwright  had  simply  drawn 
a  quaint  character  that  the  actor  could  easily  im- 
personate, the  humor  and  the  pathos  being  equally 
divided.  The  part  did  not  call  for  any  special  ef- 
fort on  Mr.  Russell's  account,  as  he  had  created 
far  more  effective  characters.  Yet  it  pleased  the 
public,  and  remained  in  his  repertory  during  the 
season.  At  the  beginning  of  the  following  season, 
on  September  20,  1897,  he  gave  it  at  the  Garden 
Theatre  for  the  first  time  in  New  York,  the  cast 
being  as  follows: 


'& 


David  Holmes  Sol  Smith  Russell. 

Gerald  Holmes  Orrin  Johnson. 

Martin  Beggs William  Sampson. 

Mr.  Savage William  Seymour. 

Harold  Reynolds Sydney  Booth. 

Mr.  Mulberry Alfred  Hudson. 

James   George  Cooke. 

Sylvia  Annie  Russell. 

Helen  Le  Grand  Blanche  Walsh, 

Harriet  Leicester   Margaret  Robinson. 

Miss  Clementina  Fanny  Addison  Pitt. 


After  that  the   stock   companies   seized  upon   it, 
and  it  was  repeated  with  good  success  throughout 


24  I^I^p^  of  tl)c  5prciS^cnt» 

the  country.  It  reached  London  a  little  later,  and 
on  January  8,  1898,  was  brought  out  at  the  Globe 
Theatre  there  by  John  Hare  with  satisfactory  re- 
sults, the  English  public  considering  it  amusing 
and  clever. 


Barbara  Frietchie,  a  play  in  four  acts  by  Clyde 
Fitch,  was  produced  at  the  Broad  Street  Theatre, 
Philadelphia,  on  October  11,  1899.  The  cast  was 
as  follows : 


Barbara  Frietchie Julia  Marlowe. 

Sally  Negley  Katherine  Wilson. 

Sue  Royce   Norah  Lamison. 

Laura  Royce  Mary  Blyth. 

Mrs.  Hunter  Annie  Clarke. 

Mammy  Lu   Alice  Leigh. 

Captain   Trumbull   J.  H.  Gilmour. 

Mr.  Frietchie  George  Woodward. 

Arthur  Frietchie Lionel  Adams. 

Colonel  Negley  W.  J.  Le  Moyne. 

Jack  Negley  Arnold  Daly. 

Fred  Gelwix   Dodson  Mitchell. 

Tim  Green  Becton  Radford. 

Edgar  Strong Donald  MacLaren. 

Dr.  Hal  Boyd  Algernon  Tassin. 

Sergeant  James   Frank  Colfax. 

Corporal  Perkins  Ralph  Lewis. 

Orderly   H.  Phillips. 

A  Boy  Byron  Ongley. 


On  October  23  following,  it  began  a  long  New 
York  run  at  the  Criterion  Theatre,  the  cast  dupli- 
cating that  already  given.  It  was  used  by  Miss 
Marlowe  on  the  road  and  in  the  leading  cities  of 


5^lap^  of  tl)c  present* 


25 


the  United  States  until  the  middle  of  the  season  of 
1900-1901,  when  it  gave  way  to  "When  Knight- 
hood was  in  Flower."  During  the  season  of  1900- 
1901  it  was  presented  at  the  Academy  of  Music  in 
New  York  and  elsewhere,  with  Effie  Ellsler  in  the 
title  role. 

The  Bauble  Shop,  a  comedy  in  four  acts  by 
Henry  Arthur  Jpnes,  was  produced  at  the  Crite- 
rion Theatre,  London,  on  January  26,  1893,  with 
Charles  Wyndham  as  Viscount  Clivebrooke,  Mary 
Moore  as  Jessie  Keber,  and  W.  D.  Day  as  Matthew 
Keher.  It  ran  continuously  until  June  14,  and 
since  then  has  received  only  occasional  perform- 
ances in  the  English  provincial  playhouses.  It  has 
never  been  revived  in  a  London  West  End  thea- 
tre. The  political  atmosphere  of  "The  Bauble 
Shop"  at  first  caused  both  critics  and  public  to  hunt 
wdth  the  most  penetrating  searchlight  for  the  mag- 
nate or  magnates  at  whom  its  satirical  shafts  were 
aimed.  It  did  not  take  long,  however,  to  discover 
that  Mr.  Jones  had  not  been  writing  a  specific  dra- 
matic exposition  of  contemporary  political  morals 
— or  immorals — and  that  if  "The  Bauble  Shop" 
bore  any  reference  to  the  conditions  of  English 
social  and  political  life,  it  must  be  accepted  purely 
as  a  glittering  generality.  Its  hero  was  a  coward 
who  allowed  himself  to  be  browbeaten  by  a  stern 
moral  censor  who  was  half  a  hypocrite,  and  for 
that  reason  the  play  naturally  did  not  win  the  com- 


26  Pap^  of  tfjc  ^rc^cnt 

plete  sympathy  of  the  public.  WilHam  Archer 
summed  up  his  feehngs  by  saying  that  for  two 
acts  and  a  half  he  waited  longingly  and  vainly  to 
hear  Viscount  Clivebrooke  say  to  Mr.  Stoach,M.P., 
"Go  to  the  devil!"  And  a  writer  in  "The  Satur- 
day Review"  said : 

"There  never  was,  and  there  is  comfort  in  the 
thought  that  there  never  can  be,  such  a  leader 
of  the  House  of  Commons  as  Lord  Clivebrooke. 
Even  if  he  were  possible,  such  a  tenth-rate  amou- 
rette as  Mr.  Jones  attributes  to  him  could  not  tempt 
him  from  his  duties  in  the  middle  of  the  session. 
We  may  take  the  almost  incredible  innocence  of 
the  toymaker's  daughter  for  granted,  in  order  to 
help  the  romantic  dramatist;  but  when  the  author 
withdraws  the  busy  party  leader  from  the  House 
for  two  hours  a  night  every  other  night  during  a 
month  to  indulge  in  what  nearly  approaches  a 
vulgar  intrigue,  we  are  entitled  to  ask  what  is 
the  writer's  estimate  of  our  intelligence.  The 
curiously  ignoble  baseness  of  Clivebrooke  is 
nearly  as  incredible  as  is  the  girl's  ignorance  of 
evil  and  its  outward  semblance.  Take  it  which 
way  we  will,  as  romantic  or  realistic  drama, 
the  objections  are  equally  obvious  and  equally 
vital." 

"The  Bauble  Shop"  was  secured  by  John  Drew, 
and  was  brought  out  at  the  Empire  Theatre  in  New 
York  on  September  ii,  1894,  with  the  following 
cast : 


^lap^  of  tljjc  JDrci5Ciit,  27 


Viscount  CUvcbrooke John  Drew. 

The  Earl  of  Sarum,  his  father  ....  C.  Leslie  Allen. 

Hon.  Charles  Teviot Arthur  Byron. 

Sir  John  Stradebroke Guido  Marburg. 

Mr.  Stoach,  M.P Harry  Harwood. 

Mr.  Piers  Bnssey,  ALP Frederick  Strong. 

Ireson    Lewis  Baker. 

Matthew  Keber  J.  E.  Dodson. 

Mr.  Body  Robert  Cotton. 

Mr.  Minis Joseph  Humphreys. 

Bence Frank  E.  Lamb. 

Gussie   Agnes  Miller. 

Lady  Kate  Ffennell Elsie  De  Wolfe. 

Lady  Bellendcn Kate  Meek. 

Jessie  Keber  Maude  Adams. 

A  German  version  by  Oscar  Blumenthal,  called 
"Die  Sittenrichter,"  was  produced  at  the  Lessing 
Theater  in  Berlin  in  August,  1894. 


Beau  Brummel,  a  comedy  in  four  acts  by  Clyde 
Fitch,  was  produced  at  the  Madison  Square  Thea- 
tre, New  York,  May  17,  1890,  the  leading  charac- 
ters being  cast  as  follows : 

The  Prince  of  Wales D.  H.  Harkins. 

Lord  Manly J.  B.  Buckstone. 

Richard  Brinsley  Sheridan  . .  A.  G.  Andrews. 

Mr.  Brummel Richard  Mansfield. 

Reginald  Courtney  Frank  Lander. 

Mortimer  W.  J.  Ferguson. 

Mr.  Oliver  Vincent  W.  H.  Crompton. 

Mariana  Vincent  Beatrice  Cameron. 

Kathleen Miss  Johnstone  Bennett. 

The  Duchess  of  Leamington  .  Mrs.  Julia  Brutone. 

Lady  Farthingale   Helen  Gliddon. 

A      French      Lodging-house 

Keeper   Miss  Leigh. 

Mrs.  St.  Aubyn  Adela  Measor. 


28  S^lapjBf  of  t\^c  ^te^cnt 

Soon  after  the  production  of  "Beau  Brummel" 
a  controversy  arose  over  its  authorship  between 
Mr.  Fitch,  Mr.  Mansfield,  and  WilHam  Winter. 
The  matter  was  thoroughly  ventilated  in  letters  to 
the  public  press,  the  following  being  an  extract 
from  a  letter  written  by  Clyde  Fitch,  under  date 
of  April  II,  and  published  in  the  New  York  "Tri- 
bune" on  April  13,  1891  :  "The  idea  of  a  play  on 
Beau  Brummel  is,  I  believe,  IMr.  William  Winter's. 
The  execution  of  that  play — Mr.  Winter  claims 
it  has  been  an  execution  in  more  senses  than  one — 
some  of  the  business,  and  the  great  bulk  of  the 
dialogue  is  mine.  The  artistic  touch,  some  of  the 
lines  in  the  comedy,  not  the  most  important  ones, 
and  the  genius  that  has  made  it  a  success  are  Mr. 
Mansfield's." 

As  acted  by  Mr.  Mansfield,  Beau  Brummel  has 
become  one  of  the  most  notable  characters  of  the 
contemporary  stage.  It  has  held  a  prominent  place 
in  his  repertory  ever  since  its  first  production, 
and  while  it  has  not  the  sensational  qualities  of 
Baron  Chevrial  or  the  dual  Dr.  Jekyll-Mr.  Hyde, 
it  may  fairly  be  set  down  as  the  best  and  in  cer- 
tain ways  the  most  popular  of  all  his  impersona- 
tions. 

Beaucaire,  a  comedy  in  five  acts  adapted  by  Booth 
Tarkington  and  Evelyn  Greenleaf  Sutherland  from 
the  former's  romance  "Monsieur  Beaucaire,"  was 
produced  by   Richard   Mansfield   at   the   Garrick 


^lapisf  of  tljc  J^rc^ciit,  29 

Theatre  in  Philadelphia  on  October  7,  1901.    The 
cast: 

The  Duke  of  Winterset Joseph  Weaver. 

The  Marquis  de  Mirepois  . . .  Charles  James. 

Lord  Toiunbrake Arthur  Berthelet. 

Sir  Hugh  Guilford R.  A.  Geldart. 

Beau  Nash  Alexander  Frank. 

Monsieur  Beaucaire Richard  Mansfield. 

Mr.  Molyneux  A.  G.  Andrews. 

Mr.  Bantison  M.  A.  Kennedy. 

Mr.  Rakcll Ernest  Warde. 

Mr.  Bicksctt James  L.  Carhart. 

Captain  Badger  Joseph  Whiting. 

Joliffe   J.  Palmer  Collins. 

Frangois  Henry  Laurent. 

Lady  Mary  Carlisle  Lettice  Fairfax. 

Countess  of  Greenbury Sydney  Cowell. 

Mrs.  Mabsley  Ethel  Knight  Mollison. 

Lucy  Rellerton Dorothy  Chester. 

Mrs.  Llczvellyn   Myra  Brooks. 

Lady  Betsey  Carmichael Irene  Prahar. 

Miss  Markham   Kathleen  Chambers. 

Mon.  Ida  Fairleigh   Chalis  Winter. 

Mrs.  Purlit  Margaret  Dills. 

Miss  Paitelot  Margaret  Kenmore. 

Miss  Presby  Adele  Claire. 

The  brevity  of  Mr.  Tarkington's  romance  made 
it  necessary  to  employ  much  new  and  original  mat- 
ter in  the  writing  of  a  play  based  upon  it.  In  the 
main,  however,  the  play  follows  the  general  lines 
of  the  romance,  the  ending  being  the  most  impor- 
tant change.  On  the  21st  of  October,  "Beaucaire" 
began  an  engagement  of  two  weeks  at  the  Colo- 
nial Theatre  in  Boston,  and  on  December  2  it  was 
performed  at  the  Herald  Square  Theatre  in  New 
York,  where  it  ran  the  remainder  of  the  season. 


30  ^litp^  of  tfjc  f^rcj^cnt* 

Because  She  Loved  Him  So,  a  farce  in  three  acts 
adapted  by  William  Gillette  from  the  French  of 
Alexandre  Bisson  and  Henri  Leclercq,  was  pro- 
duced at  the  Hyperion  Theatre  in  New  Haven, 
Connecticut,  on  October  28,  1898,  with  the  follow- 
ing cast : 

Oliver  West  Edwin  Arden. 

John  Weatherby J.  E.  Dodson. 

Thomas  Weatherby   Arnold  Daly, 

Edward  Marsh   William  B.  Smith. 

Rev.  Lyman  Langley  Charles  R.  Gilbert. 

Albert  Pritchard  W.  J.  Constantine. 

Mr.  Jackson   Charles  Eldridge. 

Mr.  Breslin  Roy  Fairchild. 

Gertrude  West Ida  Conquest. 

Mrs.  John  Weatherby Kate  Meek. 

Donna  Adelina  Gonzales Leonora  Braham. 

Margaret   Margaret  Fielding. 

Susan    Margaret  Mayo. 

Miss  Julie  Langley Edythe  Skerrett. 

Mrs.  Jackson  Bijou  Fernandez. 

Mr.  Gillette's  adaptation  proved  less  pretentious 
than  the  majority  of  the  work  that  he  had  pre- 
viously done  for  the  stage,  for  it  was  simply  a  new 
version  of  the  old  story  of  the  matrimonial  infelic- 
ities of  a  young  couple  who  are  brought  to  their 
senses  through  the  interference  of  the  aged  father 
and  mother  of  the  bride,  who  have  never  had  a  diffi- 
culty with  each  other  in  thirty  years,  but  who  quar- 
rel frightfully  before  the  young  people  are  finally 
reconciled.  The  original  play  was  entitled  "Ja- 
lousie," and  an  adaptation  called  "The  Dove  Cote" 
was  brought  out  in  London  and  had  a  long  run. 


^\a0  of  tfjc  present.  31 

In  the  French  play  there  were  situations  that  were 
somewhat  indeHcate,  and  some  of  the  dialogue  was 
free,  but  jMr.  Gillette  accomplished  a  most  com- 
mendable feat  in  transferring  the  piece  to  the 
American  stage  without  a  suggestive  line  or  scene, 
and  yet  succeeding  in  keeping  up  the  interest  in 
the  story.  The  farce  was  given  under  the  manage- 
ment of  Charles  Frohman,  who  provided  a  cast 
which  would  have  insured  the  success  of  a  play  of 
far  inferior  merit. 

The  special  feature  of  the  excellent  company 
was  Mr.  Dodson,  whose  impersonation  of  the 
good-hearted,  genial  John  Weatherhy  was  one  of 
the  finest  characterizations  that  the  stage  had  seen 
in  this  generation.  In  the  art  of  make-up,  this 
actor  is  confessedly  a  master,  and  in  this  part  he 
showed  his  wonderful  skill,  every  detail  being  per- 
fect. But  his  acting  proved  his  power  as  a  fin- 
ished and  intelligent  player,  and  gave  him  at  once  a 
place  among  American  actors — for  such  he  should 
now  be  considered — that  years  of  conscientious 
work  had  not  won  for  him.  All  the  other  players 
appeared  to  good  advantage,  and  it  was  thought 
at  the  time  of  the  production  that  no  farce  had 
been  given  for  a  decade  with  so  many  good  actors. 
The  next  year  Francis  Carlyle  took  Mr.  Ar- 
den's  place,  Ralph  Dean  succeeded  Mr.  Daly, 
Annie  Irish  replaced  Miss  Conquest,  and  there 
were  other  minor  changes  in  the  cast.  The  farce 
has    proved   popular    with    the    stock    companies 


32  5^Iapjaf  of  t()c  ^i^trc^cnt. 

throughout  the  country,  and  there  have  been  sev- 
eral notable  players  seen  in  it  at  the  local  houses. 

Becky  Sharp,  a  dramatic  version  by  Langdon 
Mitchell  of  scenes  from  Thackeray's  "Vanity 
Fair,"  was  produced  by  Mrs.  Fiske  at  the  Fifth 
Avenue  Theatre,  New  York,  on  September  12, 
1899,  with  the  following  cast : 

The  Marquis  of  Stcyn  Tyrone  Power. 

Sir  Pitt  Crazulcy,  Bart Robert  V.  Ferguson. 

Pitt  Crawley  Charles  Plunkett. 

Rawdon  Craivley  Maurice  Barrymore. 

William  Dobbin   Wilfrid  North. 

George  Osborne  Stanley  Rignold. 

Joseph  Sedley  William  F.  Owen. 

Major  Loder  E.  L.  Walton. 

Lord  Bareacrcs W.  L.  Branscombe. 

Lord  Tarquin   Frank  Reicher. 

Becky  Sharp Mrs.  Fiske. 

Amelia  Sedley    Zenaide  Williams. 

Miss  Crawley Ida  Waterman. 

The  Marchioness  of  Steyn  Jean  Chamblin. 

Lady  Barcacres Francesca  Lincoln. 

Lady  Blanche  Thistlewood Olive  Hoff. 

Lady  Jane  Crawley  Leonora  Stonehill. 

"Becky  Sharp"  was  continued  at  the  Fifth  Ave- 
nue Theatre  for  several  months;  during  the  re- 
mainder of  the  season  of  1899-1900,  and  also  dur- 
ing the  following  season,  it  was  played  by  Mrs. 
Fiske  and  her  company  throughout  the  United 
States.  Augustus  Cook  and  Charles  Vane  suc- 
cessively replaced  Tyrone  Power  as  Lord  Steyn, 
Frank  Gilmore  succeeded  Maurice  Barrymore  as 
Rawdon  Crazvley,  and  Alfred  Hudson,  during  the 


PtagjS?  of  tjlC  J^VCmU  33 

second  season,  acted  Joseph  Scdlcy  in  place  of 
William  F.  Owen.  A  contemporary  criticism  of 
]\Irs.  Fiske's  impersonation  of  Becky  Sharp  reads 
thus :  "In  praising  Mr.  Mitchell's  sketch  of  Becky, 
I  have  perhaps  been  unconsciously  paying  a  tribute 
to  ]\Irs.  Fiske's  presentation  of  it,  for  when  the 
actor  is  wedded  to  the  part  it  is  not  easy  to  dis- 
tinguish. With  the  range  of  Mrs.  Fiske's  capa- 
bility— from  the  gay  Cyprienne  in  "Divorgons"  to 
Tess  and  the  invalid  heroine  of  "Love  Finds  the 
Way" — we  are  all  tolerably  familiar,  but  never  be- 
fore has  she  had  a  part  that  shows  us  so  fully  the 
scope  of  it.  Nothing  could  be  lighter  and  more 
brilliant  than  Becky  in  her  happier  moments ;  if 
any  jot  of  charm  was  absent,  the  fault  was  not 
with  Mrs.  Fiske's  intention,  nor  with  her  skill  and 
intellectual  vivacity  in  making  this  felt,  but  with 
the  insurmountable  limits  of  physique,  which  it  is 
uncritical  as  well  as  ungrateful  to  hold  against  any 
real  artist.  In  the  more  serious  phases,  the  effect 
seemed  to  me  consummate." 

Another  version  of  "Becky  Sharp"  was  played 
for  a  time,  with  Miss  Gertrude  Coghlan  in  the 
leading  role,  during  the  season  of  1900-1901,  but 
it  resembled  Mr.  Mitchell's  version  so  closely  that 
an  injunction  was  secured  against  its  further  per- 
formance. Two  versions  were  also  given  in  Eng- 
land in  1901.  The  first,  by  David  Balsillie,  was 
produced  at  the  Theatre  Royal,  Croydon,  on  June 
24,  with  Annie  Hughes  in  the  title  role ;  the  second, 

3 


34  ¥^^i^W  "Jf  tl[)c  5prc^cnt» 

by  Robert  Hichens  and  Cosmo  Gordon  Lennox, 
at  the  Prince  of  Wales's  Theatre,  London,  on 
August  2y. 

The  Bells,  a  melodrama  in  four  acts  adapted  by 
Leopold  Lewis  from  "Le  Juif  Polonais"  of  Erck- 
mann-Chatrian,  was  produced  at  the  Lyceum  Thea- 
tre, London,  on  November  25,  1871,  the  cast  being 
as  follows: 

Mathias Henry  Irving. 

Walter Frank  Hall. 

Hans    F.  W.  Irish. 

Christian H.  Crellin. 

Mesmerist    A.  Tapping. 

Doctor  Zimmer Mr.  Dyas. 

Notary "     Collett. 

Tony    "     Fredericks. 

Fritz "     Fotheringham. 

Judge  of  the  Court Gaston  Murray. 

Clerk  of  the  Court Mr.  Branscombe. 

Catherine    Miss  G.  Pauncefort. 

Annette  Fanny  Heywood. 

Sosel   Helen  Mayne. 

"Le  Juif  Polonais,"  although  written  in  dramatic 
form,  was  not  originally  intended  for  stage  repre- 
sentation. It  was  produced  in  Paris  at  the  Theatre 
Cluny  in  1869,  when  the  part  of  Mathias  was 
played  by  M.  Talien,  an  actor  of  rare  individuality 
and  great  power.  He  did  not  in  the  earlier  mo- 
ments of  the  play  suggest,  as  did  Irving,  the  crime 
with  which  his  soul  was  burdened,  but  represented, 
instead,  a  rough,  jovial,  happy-go-lucky  Alsatian 
farmer  until  the  music  of  the  ghostly  sleigh-bells 


papjS?  of  tgc  $)rci^cnt»  35 

began  to  work  upon  his  nerves.  Later,  Coquelin 
followed  Talien's  conception  of  the  character.  The 
performance  in  Paris  was  seen  by  John  Hollings- 
head,  and  on  his  return  to  London  the  printed  ver- 
sion was  taken  by  him  to  Hermann  Vezin  and 
John  Ryder,  with  the  suggestion  that  the  leading 
character  offered  a  good  chance  for  a  tragic  actor. 
In  the  meantime,  a  version  had  been  made  by  F.  C. 
Burnand,  and  this  was  produced  by  Charles  Har- 
court,  under  the  title  of  "Paul  Zegers,"  at  the  Al- 
fred Theatre  in  Marylebone,  some  time  previous 
to  the  presentation  of  Leopold  Lewis's  adaptation 
under  H.  L.  Bateman's  management  at  the  Lyceum 
Theatre. 

Irvang's  success  as  Mathias  was  the  real  begin- 
ning of  his  triumphant  career  as  the  leader  of  the 
London  stage.  "The  Bells"  received  one  hundred 
and  fifty-one  consecutive  performances  at  the  Ly- 
ceum Theatre,  running  there  until  May  17,  1872. 
Since  then  it  has  remained  in  Irving's  repertory, 
and  has  been  given  many  hundred  performances  on 
both  sides  of  the  ocean.  It  was  the  bill  on  the  night 
of  Irving's  first  appearance  in  America,  at  the  Star 
Theatre,  New  York,  on  October  29,  1883,  Miss 
Terry  making  her  American  debut  the  following 
evening  as  the  Queen  in  "King  Charles  I." 

Other  actors  have  played  Mathias  in  this  coun- 
try, among  them  being  James  W.  Wallack,  Jr.,  Jo- 
seph Haworth,  Clay  Clement,  Creston  Clarke, 
Frank  J.  Keenan,  and  Thomas  E.  Shea. 


36  It^Iiip^  of  tfjc  5f^cc.i^mt» 

The  Benefit  of  the  Doubt,  a  drama  by  Arthur 
W.  Pinero,  was  produced  at  the  Comedy  Theatre, 
London,  on  October  i6,  1895.    The  cast: 


John  Allingham  Leonard  Boyne. 

Sir  Fletcher  Portwood,  M.P Cyril  Maude. 

Alexander  Fraser  of  Locheen J.  G.  Graham. 

Claude  Emptage  Aubrey  Fitzgerald. 

Denzil  Shafto   J.  W.  Pigott. 

Peter  Elphick   Stuart  Champion. 

The  Bishop  of  St.  Olpherts Ernest  Cosham. 

Quaife    J.  Byron. 

Norton    Miles  Brown. 

Mrs.  Allingham   Lily  H anbury. 

Mrs.  Cloys  Rose  Leclercq. 

Mrs.  Emptage  Henrietta  Lindley. 

Justina  Emptage Esme  Beringer. 

Mrs.  Quintan  Twelves  Eva  Williams. 

Mrs.  Fraser  Winifred  Emery, 


The  judgment  of  WilHam  Archer,  expressed  in 
the  London  "World"  a  few  days  after  the  first  per- 
formance, was :  "A  play,  according  to  Auguste 
Vitu,  should  contain  a  painting,  a  judgment,  and 
an  ideal.  Mr.  Pinero  has  given  us  the  painting; 
the  judgment  we  need  not  insist  on,  for  judgments 
are  generally  wrong;  but  it  would  do  no  harm  if, 
in  subsequent  works,  he  could  manage  to  throw  in 
a  touch  of  the  ideal." 

The  acting  met  with  a  divided  house  of  criticism. 
Many  praised  it,  but  George  Bernard  Shaw,  with 
his  usual  independence  and  frankness,  asserted  that 
Pinero  never  knows  how  to  cast  his  own  plays. 
And  the  play  likewise  ranged  both  the  critics  and 
the  populace  into  two  hostile  camps,  each  equally 


^lapjBf  of  tljc  ^rcj^cnt*  37 

alert  and  energetic  in  defense  of  its  views.  When 
the  play  was  brought  to  this  country,  the  London 
verdict  was  repeated  in  New  York  as  closely  as  if 
it  were  nothing  but  a  phonographic  report.  It  was 
performed  at  the  Lyceum  Theatre  on  January  6, 
1896,  by  Daniel  Frohman's  company,  arranged  as 
follows : 


John  AlUngham  Herbert  Kelcey. 

Sir  Fletcher  Portzvood,  M.P.  . .  W.  J.  Le  Moyne. 

Alexander  Fraser  of  Locheen  . .  Stephen  Grattan. 

Claude  Emptage Fritz  Williams. 

Dencil  Shafto   Walter  S.  Hale. 

Peter  Elphick   Ferdinand  Gottschalk. 

The  Bishop  of  St.  Olpherts  . . .  W.  Buckland. 

Qtiaife   Ernest  Tarleton. 

Horton Edward  P.  Wilks. 

Mrs.  AlUngham Elita  Proctor  Otis. 

Mrs.  Cloys  Mrs.  Whiffen. 

Mrs.  Emptage  "      Charles  Walcot. 

Justina  Emptage    Elizabeth  Tyree. 

Mrs.  Quinton  Twelves Gertrude  Rivers. 

Mrs.  Fraser  Isabel  Irving. 


Outside  of  New  York,  however,  "The  Benefit 
of  the  Doubt"  was  performed  during  the  season 
of  1 896-1 897  by  Charles  Frohman's  Empire  Thea- 
tre Company,  with  William  Faversham  as  John 
AlUngham,  J.  E.  Dodson  as  Sir  Fletcher  Port- 
wood,  Robert  Edeson  as  Alexander  Fraser,  Ferdi- 
nand Gottschalk  as  Claude  Emptage,  George  C. 
Pearce  as  Densil  Shafto,  Jameson  Lee  Finney  as 
Feter  Elphick,  W.  H.  Crompton  as  the  Bishop  of 
St.  Olpherts,  Elsie  de  Wolfe  as  Mrs.  AlUngham, 
]\Irs.  Thomas  Whiffen  as  Mrs.  Cloys,  Ida  Conquest 

3* 


38  S^Iitp^  of  tf)C  5ptc£?nit» 

as  Justina  Emptage,  May  Robson  as  Mrs.  Emp- 
tage,  Jane  Harwar  as  Mrs.  Qidnton  Twelves,  and 
Viola  Allen  as  Mrs.  Eraser. 

Ben  Hur,  a  play  in  six  acts  dramatized  by  Wil- 
liam Young  from  General  Lew  Wallace's  romance 
of  the  same  name,  was  produced,  with  incidental 
music  by  Edgar  Stillman  Kelly,  at  the  Broadway 
Theatre,  New  York,  on  November  29,  1899.  The 
cast  was : 

Ben  Hur  Edward  J.  Morgan. 

Messala W,  S.  Hart. 

Simonides    Henry  Lee. 

Arrius  Edmund  Collier. 

Balthazar  Frederick  Perry. 

Ilderim   Emmett  Corrigan. 

Malluch    Frederick  Truesdell. 

Hortator Charles  J.  Wilson. 

Metellus   George  Frederick. 

Drusus    Paul  Gerson. 

Cecilius Henry  Devere. 

Sanballat    Robert  Mansfield. 

Kahlcd    Charles  Craig. 

Centurion Henry  Montrose. 

Officer  of  the  Galley William  Ford. 

Esther  Grace  George. 

Iras   Corona  Riccardo. 

Mother  of  Hur Mabel  Bert. 

Tirzah Adeline  Adler. 

Amrah    Mary  Shaw. 

After  running  at  the  Broadway  Theatre  through 
the  season  of  1 899-1 900,  the  play  began  its  second 
season  at  the  Chestnut  Street  Opera  House,  Phila- 
delphia, in  the  fall  of  1900.  It  remained  there 
several  months,  gaining  a  popularity  equal  to  that 


^la^^  of  tfjc  Present  39 

which  it  had  won  in  New  York,  and  on  December 
20,  1900,  opened  the  new  Colonial  Theatre  in  Bos- 
ton, where  it  ran  until  April  20.  During  the  sea- 
son of  1 901-1902  it  played  long  engagements  in 
Chicago,  Boston,  and  other  American  cities. 

Among  the  important  changes  in  the  cast  since 
its  production  have  been  the  substitution  of  Wil- 
liam Farnum  for  Edward  J.  IMorgan  in  the  title 
role,  and  the  replacing  of  Grace  George  succes- 
sively by  Nellie  Thorne  and  Ellen  Mortimer  as 
Esther.  Balthazar  has  also  been  played  by  Fran- 
cis Kingdon,  Messala  by  George "  Alison,  Arriiis 
by  Robert  Elliot  and  Frank  Weston,  Simonidcs  by 
Emmett  Corrigan  and  Henry  Jewett,  and  Iras  by 
Adele  Block  and  Sylvia  Lynden. 

The  Big  Bonanza,  a  comedy  in  four  acts  adapted 
by  Augustin  Daly  from  Von  Moser's  "Ultimo," 
was  produced  at  the  Fifth  Avenue  Theatre,  New 
York,  on  February  15,  1875.    The  cast  was: 

Professor  Cadwallader   James  Lewis. 

Jonathan  Cadwallader   Charles  Fisher. 

Uncle  Rymple  William  Davidge. 

Bob  Ruggles  John  Drew. 

Jack  Lymer  B.  T.  Ringgold. 

Alphonsus  de  Haas George  Parkes. 

Alouser    Owen  Fawcett.  . 

Crumpets    J.  W.  Jennings. 

Lucretia  Cadwallader  Annie  Graham. 

Eugenia  Fanny  Davenport. 

Carolina  Cadwallader Mrs.  G.  H.  Gilbert. 

Virgie    Emily  Rigl. 

Mile,  de  Vincy  Nina  Varian. 

Balder    Miss  N.  Mortimer. 


40  Pap^  of  tljjc  5^rc^cnt» 

On  this  occasion  John  Drew  made  his  first  ap- 
pearance as  a  member  of  Augustin  Daly's  com- 
pany. "The  Big  Bonanza"  ran  until  the  end  of  the 
season,  June  28,  and  on  the  following  August  23 
it  was  revived  for  a  week.  As  Bob  Riiggles,  Mau- 
rice Barrymore  then  played  for  the  first  time  in 
New  York.  It  was  the  first  of  Mr.  Daly's  long 
series  of  successful  adaptations  from  the  German 
and  the  French.  Mr.  Lewis's  character  was  that 
of  a  dry,  irritable  old  man  of  learning  who  despised 
his  wealthy  and  practical  brother,  a  Wall  Street 
magnate.  "Anybody,"  he  sneered,  "could  make 
money  as  you  do.  It  requires  no  brains."  Where- 
upon his  brother  put  a  large  sum  of  money  at  the 
professor's  disposal,  and  upon  his  absurd  methods 
of  speculation  hinged  much  of  the  humor  of  the 
play. 

Other  versions  of  "Ultimo"  were  performed  in 
this  country,  and  for  several  seasons  it  received 
occasional  revivals  by  Mr.  Daly's  company. 

A  Bit  of  Old  Chelsea,  a  play  in  one  act  by  Mrs. 
Oscar  Beringer,  was  first  seen  in  this  country  at 
the  Fifth  Avenue  Theatre,  New  York,  on  April  11, 
1898,  with  the  following  cast : 

Jack  Hillier Forrest  Robinson. 

Phil  MacDonald  Wilfrid  North. 

Jim  Dixon  George  Trader. 

Paul  Raymond Frank  McCormack. 

Alexandra    Victoria   Bellcham- 

ber  Minnie  Maddern  Fiske. 


EMILY  RIGL,  and  CHARLES  FISHER. 

As  Virgie,  As  Jonathan, 

In  The  Big  Bonanza. 


J)Iap-6f  of  tjc  5g>rciS'cnt»  41 

Mrs.  Beringer's  pathetic  little  play  had  been  suc- 
cessful in  London,  where  it  was  produced  at  the 
Court  Theatre  on  February  8,  1897,  and  Mrs. 
Fiske  thought  that  it  would  interest  American 
playgoers,  a  supposition  that  was  well  founded. 
The  story  was  brief,  and  related  to  a  night  at  the 
studio  of  a  London  sculptor,  who  is  about  to  give 
up  his  Bohemian  life  and  marry  and  settle  down. 
A  poor  flower-girl  is  rescued  from  the  snow  of  the 
street  by  the  sculptor,  Jack  HilUer,  who  gives  up 
his  bunk  to  her  and  throws  himself  on  the  sofa 
before  the  fire,  refuses  to  join  his -Bohemian  com- 
panions in  a  final  carouse,  and  knocks  down  a  fel- 
low who  makes  a  jest  of  the  girl.  The  latter,  when 
she  understands  that  Hillier  is  her  protector,  but 
that  she  has  no  right  to  his  protection,  climbs  down 
from  the  bunk  while  the  young  man  is  asleep  and 
goes  out  into  the  night,  blessing  the  sleeping  youth 
as  she  goes. 

The  acting  of  Mrs.  Fiske  as  the  flower-girl  was 
quietly  effective,  showing  considerable  humor,  and 
giving  just  the  right  touch  of  tenderness  at  the  end. 
The  other  players  had  little  to  do.  When  Mrs. 
Fiske  gave  the  piece  the  following  season,  John 
Craig  was  seen  as  Jack  Hillier  and  Tyrone  Power 
as  Jim  Dixon,  Mr.  Craig  making  as  much  as  pos- 
sible of  the  part  of  the  sculptor. 

Box  AND  Cox,  a  farce  in  one  act  by  John  Mad- 
dison  Morton,  was  produced  at  the  Lyceum  Thea- 


42  JpJap^  of  tijc  present* 

tre  in  London  on  November  i,  1847.  -^^  that  time 
the  Lyceum  was  under  the  management  of  Ma- 
dame Vestris,  who  had  gathered  about  her  a  com- 
pany of  actors  unexcelled  in  the  production  of  light 
comedies  and  farces.  Morton's  new  piece  was  an- 
nounced as  "Box  and  Cox,  a  Romance  of  Real 
Life,"  and  was  cast  as  follows : 

John  Box Mr.  Buckstone. 

James  Cox  "     Harley. 

Mrs.  Bouncer  Mrs.  Macnamara. 

John  Baldwin  Buckstone,  who  played  Box,  was 
one  of  the  best  comedians  of  his  day,  and  a  volumi- 
nous playwright.  He  invariably  played  to  his  audi- 
ence, calling  attention  to  his  humor  by  salient  ap- 
peals to  his  hearers,  and  his  acting  in  this  farce 
was  among  his  most  notable  efforts.  John  Pritt 
Harley,  who  played  Cox,  was  a  very  amusing  come- 
dian in  his  own  airy,  chattering,  mercurial  way, 
overflowing  with  wit  and  humor.  He  had  such 
gayety  and  vivacity,  such  resources  of  look  and 
gesture,  that  he  was  a  general  favorite.  Mrs. 
Macnamara  played  "motherly"  parts  under  Ves- 
tris; she  was  an  actress  of  some  note  in  her  time. 
The  skilful  acting  of  Buckstone  and  Harley  estab- 
lished the  fame  of  Morton's  farce,  and  for  many 
years  both  these  players  were  in  demand  to  repeat 
their  great  success  at  benefits  and  at  special  per- 
formances. 

The  new  piece  was  not  long  in  crossing  the  At- 


5plapj5  of  tgc  5prc£fnit.  43 

lantic.  On  January  26,  1848,  William  B.  Chap- 
man, an  excellent  comedian  who,  after  winning 
fame  on  the  London  stage,  had  come  to  this  coun- 
try and  made  a  place  for  himself  here,  successfully 
appeared  as  Cox  at  the  Broadway  Theatre,  New 
York,  a  success  which  he  repeated  a  few  months 
later  at  Palmer's  Theatre  in  the  same  city,  with 
John  Povey  as  Box  and  IMrs.  Vernon  (Miss  Jane 
Fisher)  as  the  landlady.  The  same  year  the  pa- 
trons of  IMitchell's  Olympic  saw  the  new  farce  with 
George  Holland  as  the  printer,  W.  Conover  as 
the  hatter,  and  Mrs.  Henry  as  Mrs.  Bouncer. 

Boston  was  not  behind  in  witnessing  Morton's 
work,  for  the  same  season  that  saw  its  New  York 
production  also  saw  it  brought  out  at  the  Museum, 
with  William  Warren  as  John  Box.  It  was  the 
great  comedian's  first  season  at  the  Museum,  and 
he  made  a  hit  in  the  part,  which  remained  in  his 
repertory  to  the  last.  Two  years  later  it  was  given 
with  Warren  and  Jacob  W.  Thoman  as  the  two 
journeymen,  and  Mrs.  Judah  as  the  landlady. 
Later  "Ji^nn^y"  Ri"g  played  Cox,  but  Warren 
could  usually  be  depended  on  to  appear  as  Box 
once  or  twice  during  the  season,  and  in  nothing 
that  he  played  was  he  better  appreciated  by  the 
Museum  audiences.  A  notable  cast  of  more  recent 
years  at  the  IMuseum  comprised  George  W.  Wil- 
son, Sol  Smith  Russell,  and  Kate  Ryan. 

A  performance  of  "Box  and  Cox"  at  the  Hay- 
market  Theatre,  London,  on  October  16,  1889,  is 


44  ¥^InpjSf  of  t\^t  ^tc^tnt 

noteworthy  as  being  part  of  an  entertainment 
which  was  given  for  the  benefit  of  Morton,  its 
author,  who  was  then  lying  ill  at  the  Charterhouse, 
so  lovingly  described  by  Thackeray  in  "The  New- 
comes."  Two  years  later  the  poor  old  dramatist 
passed  away  there.  At  the  benefit  two  of  the  fa- 
mous Morton  farces  were  given,  and  Beerbohm 
Tree,  who  had  been  one  of  the  principal  movers 
in  the  affair,  recited  a  poem  in  which  the  beneficiary 
was  referred  to  as — 

A  man  of  whom  no  111  is  heard, 
Whose  epitaph  will  face  one : 

"He  never  wrote  an  unkind  word, 
And  never  thought  a  base  one." 

Certainly  an  appropriate  epitaph  for  the  author 
of  "Box  and  Cox,"  who  had  furnished  many  an 
hour  of  innocent  amusement  for  two  generations  of 
playgoers.  It  is  pleasant  to  know  that  his  last  days 
were  passed  in  comfort,  and  that  to  the  end  his 
friends  looked  after  his  simple  wants  and  supple- 
mented as  far  as  possible  the  excellent  care  he  re- 
ceived at  the  Charterhouse. 

A  Bunch  of  Violets,  a  drama  in  four  acts,  was 
adapted  by  Sydney  Grundy  from  Octave  Feuillet's 
"Montjoye,"  a  comedy  in  five  acts,  which  was  pro- 
duced in  Paris  in  1863.  "Montjoye"  has  been  pro- 
nounced "perhaps  M.  Feuillet's  best  play"  by  so  ex- 
cellent an  authority  as  Brander  Matthews,  and  it 
bears,  in  common  with  the  same  dramatist's  "Le 


Roman  d'un  Jeune  Homme  Pauvre"  and  "La 
Tentation,"  not  only  slight  traces  of  the  influence 
of  Alfred  de  Musset,  but  still  more  startling  re- 
sults of  the  influence  of  the  younger  Dumas's  work, 
especially  "Le  Demi-Monde"  and  "Le  Fils  Natu- 
rel." 

In  one  form  and  another,  "Montjoye"  has  been 
known  to  the  American  stage  ever  since  1866, 
when,  under  the  title  of  "A  Man  of  Iron,"  it  was 
performed  in  San  Francisco  by  a  company  includ- 
ing Louis  James,  Charles  R.  Thorne,  Jr.,  and  Louis 
Aldrich.  In  1877  another  version  was  given  in 
San  Francisco,  under  the  title  of  "Montjoye,"  with 
Charles  Coghlan  in  the  leading  character.  When 
Coghlan  came  to  New  York  a  few  years  later,  he 
appeared  at  the  Union  Square  Theatre,  under  the 
management  of  A.  M.  Palmer,  in  a  version  by 
A.  R.  Cazauran  called  "The  Man  of  Success." 

These  versions,  however,  bore  little  resemblance 
to  "A  Bunch  of  Violets."  In  1877  Sydney  Grundy, 
with  his  keenly  developed  sense  for  the  adaptabil- 
ity of  a  foreign  play,  saw  in  Feuillet's  drama  an- 
other chance  for  an  English  dramatic  work.  His 
version  was  brought  out  under  the  title  of  "Mam- 
mon" at  the  Strand  Theatre  in  London  in  April, 
1877,  for  the  benefit  of  W.  H.  Vernon,  the  stage 
manager  of  that  house,  and  was  put  into  the  regu- 
lar evening  bill  on  the  12th  of  May.  Barring  occa- 
sional performances  here  and  there,  the  play  slum- 
bered until  April  25,  1894,  when  it  was  produced 


46  PnpjGf  of  tftC  ¥)tC!0fC!tt» 

in  a  new  form,  with  renamed  characters  and  al- 
tered scenes,  at  the  Hay  market  Theatre,  London. 
It  ran  until  the  following  19th  of  July,  the  season 
closing  on  the  20th  with  a  performance  of  Ibsen's 
"An  Enemy  of  the  People."  When  the  Haymar- 
ket  Theatre  opened  its  next  season,  on  October  8, 
"A  Bunch  of  Violets"  was  revived,  and  ran  until 
the  3d  of  November.  The  original  cast  was  as 
follows : 

Sir  Philip  Marchant Beerbohm  Tree. 

Viscount  Mount  Sorrell   Nutcombe  Gould. 

The  Hon.  Harold  Inglis  CM.  Hallard. 

Mark  Murgatroyd  Lionel  Brough. 

Jacob  Schwartz   G.  W.  Anson. 

Harker Holman  Clark. 

Butler Mr,  May. 

Lady  Marchant  Lily  Hanbury. 

Violet  Audrey  Ford. 

Mrs.  Murgatroyd  Mrs.  Beerbohm  Tree. 

The  one  noteworthy  element  in  the  performance, 
aside  from  Mr.  Tree's  portrayal  of  Sir  Philip  Mar- 
chant, was  Mrs.  Tree's  interpretation  of  Mrs.  Mur- 
gatroyd, a  brilliant,  forceful,  and  individual  charac- 
terization, showing  an  unexpected  aptitude  for  the 
acting  of  characters  of  the  adventuress  type.  Wil- 
liam Archer  said  :  "It  is  intelligent,  daring,  original. 
The  mere  make-up  shows  the  true  artist.  Mrs. 
Tree  looks  at  times  like  a  creation  of  Mr.  Aubrey 
Beardsley,  in  one  of  his  more  human  moods. 
.  .  .  Mr.  Tree,  too,  excels  in  make-up.  With 
comparatively  little  mechanical  aid,  he  refashions 
his  whole  countenance.     His  playing  has  strong 


^\a0  of  tJjc  present.  47 


moments;  but  I  think  he  ought  to  guard  against  a 
declamatory  tendency  which  has  recently  been 
growing  upon  him,  along  with  a  partiality  for 
broad  and  cheap  comic  effects." 

"A  Bunch  of  Violets"  was  first  played  in  this 
country  by  Air.  Tree,  with  substantially  its  original 
cast,  at  Abbey's  Theatre  in  New  York  on  January 
30,  1895,  and  was  occasionally  repeated  during 
his  American  tour. 

Captain  Swift,  a  drama  in  four  acts  by  Haddon 
Chambers,  was  produced  by  Beerbohm  Tree  at  the 
Haymarket  Theatre,  London,  on  the  afternoon  of 
June  20,  1888,  and  was  so  favorably  received  that 
it  was  put  on  as  the  opening  attraction  at  that 
house  on  the  following  ist  of  September.  The 
cast  was : 

Mr.  Wilding   Beerbohm  Tree. 

Mr.  Seabrook Henry  Kemble. 

Harry  Seabrook Fuller  Mellish. 

Mr.  Gardiner  F.  H.  Macklin. 

Marshall    Charles  Brookfield. 

Miehael  Ryan   Charles  Allan. 

Bates    RoBB  Harwood. 

Mrs.  Seabrook Lady  Monckton. 

Lady  Staunton Rose  Leclercq. 

Mabel  Seabrook   Angela  Cudmore. 

Stella  Darbishcr  Mrs.  Beerbohm  Tree. 

Immediately  after  the  experimental  performance 
in  June,  the  American  rights  to  "Captain  Swift" 
were  secured  by  A.  M.  Palmer,  who  produced  it 
in  New  York  at  his  Madison  Square  Theatre  on 


48  ^\CiV^  of  tl)c  ^rciafcnt. 


Tuesday  evening,  December  4,  1888.  As  played 
in  this  country,  it  was  considerably  altered  by  Dion 
Boucicault,  and  the  changes  are  said  to  have  been 
to  the  benefit  of  the  drama,  although  there  are  no 
means  at  hand  for  a  comparison  of  the  two  ver- 
sions. The  cast  of  the  American  production  was 
as  follows : 

Mr.  Wilding Maurice  Barrymore. 

Mr.  Seabrook   Frederic  Robinson, 

Harry  Seabrook  Henry  Woodruff. 

Mr.  Gardiner E.  M,  Holland. 

Marshall    J.  H.  Stoddart. 

Ryan Walden  Ramsay. 

Bates    Reuben  Fax. 

Mrs.  Seabrook Agnes  Booth. 

Stella  Darbisher  Marie  Burroughs. 

Mabel  Seabrook  Annie  Russell. 

Lady  Staunton   Mrs.  E.  J.  Phillips. 

"Captain  Swift"  played  long  engagements  both 
in  London  and  in  New  York,  and  has  been  fre- 
quently revived.  It  was  a  feature  of  Mr.  Tree's 
repertory  during  his  first  American  tour,  being 
played  by  him  for  the  first  time  in  this  country  at 
Abbey's  (now  the  Knickerbocker)  Theatre,  New 
York,  on  the  afternoon  of  February  7,  1895,  with 
himself  in  the  title  role,  Mrs.  Tree  as  Stella  Dar- 
bisher, Lily  Hanbury  as  Mabel  Seabrook,  Charles 
Allan  as  Mr.  Seabrook,  C.  M.  Hallard  as  Harry 
Seabrook,  and  Henry  Neville  as  Mr.  Gardiner.  A 
revival  at  Her  Majesty's  Theatre,  London,  in  May, 
1899,  was  made  notable  by  the  appearance  of  Miss 
Genevieve  Ward  in  the  character  of  Mrs.  Seabrook. 


MAURICE  BARRYMORE, 

As  Mr.  Wilding,  in  Captain  S\vift. 


ptip^  of  tfjc  prc"scnt  49 

The  Case  of  Rebellious  Susan,  a  comedy  in 
four  acts  by  Henry  Arthur  Jones,  was  produced 
at  the  Criterion  Theatre,  London,  on  October  23, 
1894,  under  the  management  of  Charles  Wynd- 
ham.  The  cast  inckided  ]\Ir.  Wyndham  as  Sir 
Richard  Kato  and  Miss  Alary  Moore  as  Lady 
Susan  Harahin.  On  December  29  of  the  same 
year  it  was  played  for  the  first  time  in  this  country 
at  the  Lyceum  Theatre  in  New  York,  with  the  fol- 
lowing cast  of  characters : 

Sir  Richard  Kato,  Q.C Herbert  Kel^ey. 

Admiral  Sir  Joseph  Darby W.  J.  'Le  Moyne. 

Mr.  Jacomb  Charles  Walcot. 

James  Harabin  Stephen  Grattan. 

Fergusson  Pybus Fritz  Williams. 

Lucien  Edensor  Walter  S.  Hale. 

Kirby Ernest  Tarleton. 

Lady  Susan  Harabin Isabel  Irving. 

Elaine  Slirinipton Elizabeth  Tyree. 

Lady  Darby  Mrs.  Charles  Walcot. 

Mrs.  Inez  Quesnel Rhoda  Cameron. 

Even  in  the  light  of  Mr.  Jones's  highly  amusing 
published  preface  to  "The  Case  of  Rebellious  Su- 
san," it  is  difficult  to  understand  what  the  dram- 
atist was  driving  at  when  he  wrote  this  "com- 
edy." At  first  thought — especially  during  the  first 
act — it  seems  to  be  a  deliberate  skit  upon  Dumas's 
"Francillon,"  but  it  later  assumes  a  perfunctorily 
serious  tone  which  precludes  any  such  idea.  The 
story  simply  deals  with  the  right  of  a  wife  to  re- 
taliate in  kind  against  her  husband's  infidelity,  al- 
though the  extent  of  dereliction  on  both  sides  is 

4 


so  S^lttp^  of  ttje  $)rrci6fcnt, 

left  in  a  delightful  state  of  uncertainty.  Upon  this 
theme  is  woven  a  tale  of  conjugal  infelicity,  al- 
though Lady  Susan  is  scarcely  to  be  blamed  for 
casting  off  so  woe-begone  and  spiritless  a  husband 
as  her  lord  is  represented  to  be.  Through  the  min- 
istrations of  Sir  Richard  Kato,  all  these  little  iron- 
ies of  life,  as  Thomas  Hardy  would  call  them,  are 
smoothed  over,  and  the  audience  leaves  the  theatre 
with  the  feeling  that  if  any  difficulties  arise  after 
the  curtain  has  fallen,  good  Sir  Richard  will  be 
sure  to  set  everything  aright. 

Caste,  a  comedy  in  three  acts  by  T.  W.  Robertson, 
was  produced  at  the  Prince  of  Wales's  Theatre  in 
London  on  April  6,  1867.  If  some  bookworm 
should  chance  to  come  across  an  old  "Christmas 
Annual"  edited  by  Tom  Hood,  and  if  he  should 
open  it  at  a  sketch  entitled  "Rates  and  Taxes,"  he 
would  have  before  him  the  germ  of  Robertson's 
comedy.  Of  all  his  plays,  with  the  possible  excep- 
tion of  "David  Garrick,"  "Caste"  has  been  the 
most  popular.  It  was  produced  at  the  little  Prince 
of  Wales's  Theatre  following  the  withdrawal  of 
"Ours"  after  its  long  run  of  one  hundred  and  fifty 
nights,  and  it  continued  the  successful  series  of 
Robertson  plays  which  had  begun  there  under  the 
Bancrofts'  management  with  the  performance  of 
"Society"  in  November,  1865.  John  Hare  was  a 
member  of  the  company,  and  had  made  successive 
hits  as  Lord  Ptarmigant  in  "Society"  and  Prince 


^\a0  of  tfjc  5^rc.9cnt.  s  i 

Perovsky  in  "Ours"  before  the  part  of  Sam  Gcr- 
ridge  fell  to  him  when  "Caste"  was  put  in  re- 
hearsal. In  that  original  performance,  Frederick 
Yonge  appeared  as  Ho7i.  George  d'Alroy,  S.  B. 
Bancroft  as  Captain  Hazvtree,  George  Honey  as 
Eccles,  Lydia  Foote  as  Esther,  and  Marie  Wilton 
(who  later  became  Mrs.  Bancroft)  as  Polly. 
There  are  many  who  hold  to  this  day  that  Mrs. 
Bancroft's  Polly  is  the  most  finished  portrait  ever 
contributed  by  her  to  the  English  stage.  George 
Honey's  Eccles,  well  known  by  playgoers  in  this 
country  a  score  of  years  ago,  was  one  of  the  most 
minutely  perfect  performances  of  an  unusually 
versatile  and  gifted  comedian;  and  Mr.  Hare, 
w^ho  some  thirty  years  later  gave  the  character  of 
Sam  Gerridge  to  his  son  in  order  to  put  on  the 
garb  of  Eccles  himself,  was  said  to  have  been  the 
veritable  portrait  of  a  sharp,  wiry  workingman, 
who  might  have  stepped  out  of  any  mechanic's 
shop  in  England. 

"Caste"  was  to  become  an  English  stage  classic. 
Ever  since  that  first  night,  it  has  been  played  year 
after  year  in  almost  every  theatre  in  the  United 
Kingdom,  never  seeming  to  lose  one  jot  of  the  pop- 
ularity won  at  its  original  performance.  David 
James  became  a  well-known  Eccles,  and  in  recent 
years  John  Hare  has  added  to  his  fame  by  his  act- 
ing of  the  drunken  scamp.  He  played  the  part 
for  the  first  time  in  London  on  October  i6,  1896, 
and  gave  to  the  character  many  distinctly  pathetic 


52  pap^  of  tl)t  ^te^cnt 

elements  which  it  lacked  at  the  hands  of  its  pre- 
vious interpreters. 

"Caste"  was  at  once  drafted  into  the  American 
service  by  William  J.  Florence,  who  concocted  a 
manuscript  of  the  play  through  closely  watching 
the  London  performances,  and  brought  out  the 
result  at  the  Broadway  Theatre  in  New  York  on 
August  5,  1867.    The  cast  was  as  follows: 

Hon.  George  d'Alroy William  J.  Florence. 

Captain  Hawtrce Owen  Marlowe. 

Eccles  William  Davidge. 

Sam  Gerridge Edward  Lamb. 

Esther Henrietta  Chanfrau. 

Polly  Mrs.  William  J.  Florence. 

Marquise  de  St.  Maur "      G.  H.  Gilbert. 

A  lawsuit  between  Lester  Wallack  and  Florence 
resulted  in  a  victory  for  the  latter,  and  so  Mr.  Wal- 
lack's  company  was  obliged  to  follow  the  lead  of 
its  rival.  The  first  Wallack  production  was  given 
in  Brooklyn  on  the  2d  of  September,  with  the  fol- 
lowing cast : 

Hon.  George  d'Alroy J.  B.  Polk. 

Captain  Hawtree B.  T.  Ringgold. 

Eccles  J.  H.  Stoddart. 

Sam  Gerridge Charles  Hale. 

Esther Clara  Jennings. 

Polly  Mary  Gannon. 

Marquise  de  St.  Maur Mrs.  George  Vernon. 

A  short  revival  of  the  comedy  was  given  at  Wal- 
lack's  Theatre  the  following  season,  and  another 
at  Augustin  Daly's  Fifth  Avenue  Theatre  on  No- 


3Dlapi9f  of  tijc  g)rcsfcnt.  53 

vember  15,  1869,  with  I\Irs.  Chanfrau,  Mrs.  Gilbert, 
and  IVIr.  Davidge  in  the  parts  they  acted  in  the 
Florence  production,  George  Clarke  as  d'Alroy, 
J.  B.  Polk  as  Haii'tree,  James  Lewis  as  Sam  Ger- 
ridge,  and  Fanny  Davenport  as  Polly.  Other  re- 
vivals followed  from  time  to  time,  but  ''Caste" 
never  reached  the  perhaps  doubtful  distinction  of 
a  long  run.  George  Honey,  Harry  Beckett,  Charles 
Groves,  Robert  McWade,  George  W.  Wilson,  and 
George  Holland  have  all  been  seen  in  the  larger 
cities  of  the  country  as  Eccles,  and  among  the  later 
Sam  Gerridges,  E.  M.  Holland  is  the  most  notable. 
Ada  Dyas,  Rose  Coghlan,  and  Marion  Manola 
have  appeared  as  Esther,  while  Polly  has  had  the 
benefit  of  such  interpreters  as  Effie  Germon,  Flor- 
ence Gerard,  and  Hattie  Schell. 

"Caste"  lost  no  time  in  reaching  Boston.  A  series 
of  three  performances  at  the  Howard  Athenaeum, 
on  September  2,  3,  and  4,  1867,  under  the  auspices 
of  Cecille  Rush,  paved  the  way  for  the  successful 
production  which  came  at  the  Boston  Museum  on 
the  following  September  23,  and  in  which  William 
Warren  added  a  notable  portrait  to  his  already 
large  collection  of  masterly  dramatic  creations. 
The  cast  was : 

Hon.  George  d'Alroy  L.  R.  Shewell. 

Eccles  William  Warren. 

Captain  Hazviree   J.  A.  Smith. 

Sam  Gcrridge   J.  H.  Ring. 

Dixon Walter  Kelly. 

Esther  Eccles Annie  Clarke. 

Polly  Eccles  Louisa  Meyers. 

Marquise  de  St.  Maiir  JMrs.  E.  L.  Davenport. 

4* 


54  pi^P^  of  tl)c  J)rc^ait» 

When  Florence  left  New  York,  after  the  lawsuit 
with  Wallack,  he  went  to  Boston  and  gave  two  per- 
formances of  his  version  of  "Caste"  at  the  Boston 
Theatre  on  September  30  and  October  i,  1867. 
The  cast  was  made  up  of  Florence  as  d'Alroy,  Mrs. 
Florence  as  Polly,  Mrs.  J.  B.  Booth  (now  known  as 
Agnes  Booth)  as  Esther,  Mrs.  L.  Morse  as  the 
Marquise,  and  Walter  M.  Leman  as  Eccles. 

Another  production  followed  at  Selwyn's  Thea- 
tre on  Thursday  evening,  November  7,  announced 
as  the  "first  appearance  of  Kitty  Blanchard  and 
first  night  in  this  theatre  of  the  original  comedy 
by  Thomas  W.  Robertson,  now  presented  (for  the 
first  time  in  Boston)  from  the  original  manuscript, 
purchased  from  the  author,  entitled  'Caste.'  "  The 
play,  however,  was  performed  only  four  times  at 
that  house.  The  cast  included  Mrs.  Henrietta 
Chanfrau,  Miss  A.  Harris,  Frederic  Robinson, 
G.W.  Garrison,  Stuart  Robson,  and  Harry  Pearson. 

The  two  most  notable  Boston  revivals  came  in 
the  fall  of  1875,  when  George  Honey  first  showed 
American  theatre  audiences  his  conception  oi  Eccles 
at  the  Globe  Theatre,  and  Warren  reappeared  at  the 
Museum  in  the  character  which  he  had  made  fa- 
mous eight  years  before.  The  comedy  was  acted  at 
the  Globe  Theatre  by  George  Honey  as  Eccles,]oh.n 
C.  Cowper  as  d'Alroy,  Owen  Marlowe  as  Hazvtree, 
John  H.  Burnett  as  Sam  Gerridge,  Clara  Fisher 
Maeder  as  the  Marquise,  Katherine  Rogers  as  Es- 
ther Eccles,  and  Lillian  Conway  as  Polly.     This 


^lap^  of  t\^  ^tc^cnt  55 

production  opened  on  November  29,  1875,  follow- 
ing after  a  brief  interval  the  long  run  of  "Our 
Boys,"  and  continued  until  December  15.  The  rival 
production  at  the  Museum  included  Warren  as 
Eccles,  Harry  IMontague  as  d'Alroy,  W.  H.  Crisp 
as  Hazi'trce,  J.  H.  Ring  as  Sam,  Annie  Clarke  as 
Esther,  ]\Iary  Cary  as  Polly,  and  Mrs.  Vincent  as 
the  Marquise.  Warren  acted  Eccles  eighty-four 
times  in  all.  IMontague,  who  was  one  of  the  best 
d'Alroys  ever  seen  on  our  stage,  had  come  from 
Wallack's  Theatre  in  New  York,  where  he  had 
been  playing  that  character  to  the  Eccles  of  Harry 
Beckett,  the  Sam  Gerridge  of  E.  M.  Holland,  with 
Ada  Dyas  as  Esther,  Effie  Germon  as  Polly,  and 
IMme.  Ponisi  as  the  Marquise. 

In  recent  years  "Caste"  has  been  occasionally 
revived  in  New  York,  Boston,  and  other  important 
theatrical  centres. 

The  Cat  and  the  Cherub,  a  play  of  Chinese 
life  in  one  act  by  Chester  Bailey  Fernald,  was  pro- 
duced at  Hammerstein's  Olympia  Theatre  in  New 
York  on  September  20,  1897,  with  the  following 
cast: 

Wing  Shee  Holbrook  Blinn. 

Chin  Fang  Richard  Ganthony. 

Hoo  King   Alfred  Hastings. 

Wing  Sun  Luey Edwin  Morrison. 

Ah  Yoi Ruth  Benson. 

Hwah  Kivee  Alethea  Luce. 

Hoo  Chee   Grace  Sheridan. 

One-two  {the  cat) By  Himself. 


56  pi^v^  of  t^c  pte^tnt 

Mr.  Fernald's  little  play  of  life  in  the  Chinese 
quarter  of  San  Francisco  is  one  of  the  few  short 
pieces  that  are  not  only  interesting  but  intensely 
dramatic  and  exciting,  keeping  the  auditor  in  a 
state  of  suspense  that  is  not  relieved  until  the  fall 
of  the  curtain.  Adapted  from  a  story  by  Mr.  Fer- 
nald,  originally  published  in  "The  Century  Maga- 
zine," it  shows  a  side  of  Chinese  character  with 
which  few  Americans  are  familiar;  and  while  it 
does  not  require  actors  of  special  ability  for  its 
interpretation,  it  nevertheless  needs  players  who 
can  enter  into  the  spirit  of  the  odd  scene  and  ac- 
tion, and  who  can  make  the  speeches,  delivered 
in  the  peculiar  style  of  the  Chinese,  effective  to 
an  audience  which  has  to  take  for  granted  the  fact 
that  the  portrayal  is  true  to  life.  Mr.  Ganthony 
was  good  as  the  keeper  of  an  opium  den,  the  vil- 
lain of  the  story,  while  Mr.  Blinn  delivered  care- 
fully the  long  speeches,  spiced  with  a  dash  of  Chi- 
nese humor.  One  of  the  best  features  of  the 
production  was  the  incidental  music  by  Edgar  Still- 
man  Kelley  and  N.  Clifford  Page,  which  was  a 
quaint  imitation  of  the  Chinese  airs  to  which  vis- 
itors to  the  "Chinatowns"  of  various  cities  have 
become  accustomed,  but  which  was  scholarly  and 
appropriate,  showing  that  both  Mr.  Kelley  and  his 
fellow-worker  had  made  a  study  of  the  music  of 
the  Flowery  Kingdom. 

Catherine,  a  comedy  in  four  acts  by  Henri  Lave- 
dan,  was  produced  in  Paris  at  the  Theatre  Fran- 


piap^  of  rtjc  Prcjsnit,  57 

cais  on  January  22,  1898.  An  English  version 
was  at  once  prepared  for  Charles  Frohman,  who 
had  secured  the  American  rights,  and  it  was  per- 
formed for  the  first  time  in  this  country  in  the  Gar- 
rick  Theatre,  New  York,  on  October  24,  1898. 
The  cast  was : 


Duke  de  Coutras   Frank  Worthing. 

George  Mantel Joseph  Holland. 

M.  Vallon  W.  J.  Le  Moyne. 

Baron  Frouard   J.  G.  Saville. 

M.  Lucas  Robert  Hickman. 

Frederic  Francis  Sedgwick, 

Paul    Gretta  Carr. 

Footman    Morgan  Thorpe. 

Duchess  de  Coutras Sarah  Cowell  Le  Moyne. 

Catherine  Vallon Annie  Russell. 

Helene    Elsie  de  Wolfe. 

Baroness  Frouard Dora  Goldthwaite. 

Madeleine  de  Coutras Ethel  Barrymore. 

Blanche  Vallon  May  Buckley. 

Jeanne Georgie  Mendum. 

Louise Marion  Kirk. 


Even  if  "Catherine"  were  not  one  of  the  best 
plays  of  our  modern  era,  it  would  have  been  dig- 
nified into  excellence  by  the  exceptionally  strong 
company  of  players  which  presented  it.  As  it  is, 
both  play  and  actors  were  so  perfectly  adjusted  to 
each  other  that  the  result  was  a  performance  re- 
markable alike  in  the  credit  due  to  both  the  dram- 
atist and  to  his  interpreters.  Henri  Lavedan  is 
one  of  the  foremost  of  the  modern  school  of  French 
writers  for  the  stage,  and  is  known  in  Paris  and 
throughout  France  as  a  modern  of  the  moderns. 
Three  years  before  the  production  of  "Catherine," 


s8  pap^  of  ttjc  JDtc^cnt. 

his  "Viveurs !"  created  a  sensation  even  in  sensa- 
tional Paris,  and  thenceforth  everything  from  his 
pen  was  sure  of  the  most  exacting  interest  and 
attention.  His  "Catherine"  found  its  author  in  an 
entirely  new  mood,  for,  with  the  possible  excep- 
tion of  one  scene,  it  proved  to  be  both  meat  for 
the  strong  and  food  for  the  weak.  It  had  no  new 
story  to  tell,  it  gave  no  ethical  message  to  an  ex- 
pectant world,  its  characters  were  the  ordinary 
people  of  French  life  and  the  customary  person- 
ages of  the  French  stage.  But  its  author  proved 
his  power  by  his  ability  to  recreate  the  old  into 
the  new,  and  to  translate  the  stock  characters  and 
incidents  of  fiction  into  the  language  of  his  own 
time  and  place.  The  story  of  "Catherine"  is  as 
old  as  mankind.  It  is  found  in  the  literature  of 
primitive  ages;  it  prevails  in  the  ballad  and  song 
which  came  directly  from  the  hearts  of  the  people 
before  the  arts  of  writing  and  printing  were  de- 
veloped ;  it  found  a  ready  welcome  when  put  upon 
the  printed  page  in  every  land  and  every  tongue. 
King  Cophetua  and  his  love  for  the  beggar  maid 
will  always  be,  with  varied  changes,  a  theme  for 
the  novelist  and  dramatist,  and  no  one  need  there- 
fore blame  M.  Lavedan  because  he  chose  to  resur- 
rect the  old  tale  in  order  to  tell  it  in  his  own  way. 
Other  French  dramatists  who  have  preceded  him 
— George  Sand,  Emile  Augier,  Alexandre  Dumas 
fils,  to  cite  only  the  most  prominent — have  rung 
their  varied  changes  on  the  theme,  and  alike  in 


p\a^^  of  tfjc  $)rc0"cnt,  59 

their  case  and  in  M.  Lavedan's  the  end  has  fully 
justified  the  means. 

The  three  leading  characters  in  "Catherine"  were 
acted  almost  to  perfection  by  Miss  Russell,  Mrs. 
Le  Moyne,  and  Mr.  Worthing.  Interpretation  of 
character  in  its  deepest,  richest,  and  subtlest  sense 
is  rare  indeed  even  among  our  best  actors,  and  it 
is  exactly  such  interpretation  which  these  three 
players  gave.  ]\Irs.  Le  JMoyne's  interpretation 
achieved  first  rank,  partly  because  of  the  strength 
given  the  character  by  the  dramatist,  but  largely 
because  of  the  strength  added  to  it  by  the  actress. 
She  reinforced  the  character  with  her  own  person- 
ality to  such  a  degree  that  she  seemed  veritably 
to  create  it  of  her  own  accord.  And  Miss  Russell 
met  every  exigency  of  the  title  character  with 
equal  perfection.  Mr.  Worthing,  whose  chief 
scenes,  with  two  exceptions,  were  acted  with  Mrs. 
Le  Moyne  and  Miss  Russell,  allowed  himself  to 
be  imbued  with  their  naturalistic  fervor,  and  the 
result  was  of  more  than  ordinary  interest.  Once 
an  actor  of  the  purely  declamatory  school,  Mr. 
Worthing  became  an  exponent  of  nature,  and  no 
one  could  wish  any  greater  degree  of  truth  than 
was  imparted  by  him  to  the  character  of  the  Duke 
de  Coiitras. 

A  Celebrated  Case,  under  its  French  title  of 
"Una  Cause  Celebre,"  was  produced  at  the  Am- 
bigu  Comique,  Paris,  on  December  4,  1877,  with 


6o  Ptip^Bf  of  ti)c  ptc^mt 

M.  Dumaine  as  Jean  Renaud,  M.  Vaunoy  as  Cham- 
boran,  M.  Laray  as  La::are,  M.  Faille  as  Cornte 
d'Auheterre,  Mme.  Lena  IMunte  as  Adrienne,  and 
Mme.  M.  Vannoy  as  Valentine.  It  was  built,  by 
Adolphe  d'Ennery  and  Eugene  Cormon  (the  au- 
thors of  "Les  Deux  Orphelines"),  on  the  details 
of  a  recent  sensational  trial,  and,  being  transferred 
to  the  Theatre  de  la  Porte  St.  IMartin  on  Decem- 
ber 7,  ran  there  for  the  unusually  successful  sea- 
son of  one  hundred  performances. 

fimile  Zola,  then  a  dramatic  critic,  wrote  a  mas- 
terly criticism  of  the  play,  which  may  be  found  in 
his  published  volume  of  critical  essays.  Among 
other  things,  he  says :  "The  prologue  is  in  every 
way  excellent.  If  only  the  style  of  it  were  changed 
— for  in  what  an  abominable  style  it  is  written !  I 
could  wish  for  no  better  prologue,  from  my  own 
point  of  view.  I  have  rarely  seen  anything  on 
the  stage  finer  than  the  horrible  assassination  of 
Madeleine.  .  .  .  But  everything  is  spoiled 
when  the  drama  begins.  What  a  strange  combi- 
nation of  duke  and  convict!  And  the  silliest  sen- 
tences are  those  which  elicit  the  most  violent  ap- 
plause. And,  after  all,  why  should  we  complain? 
Public  silliness  must  have  channels  of  expression 
of  its  own." 

Two  English  versions  were  immediately  forth- 
coming. "Proof,  or  A  Celebrated  Case,"  adapted 
by  F.  C.  Burnand,  was  produced  in  London  at 
the  Adelphi  Theatre  on  April  20,  1878,  and  ran 


^\a0  of  tljc  5prc^'nit,  ci 

to  crowded  houses  up  to  the  first  week  of  the  fol- 
lowing February,  the  cast  including  jNIr,  and  J\Irs. 
Daniel  E.  Bandmann  (Millicent  Palmer),  Samuel 
A.  Emery,  Mr.  and  Mrs.  Arthur  Sterling,  Louise 
Moodie,  Charles  Harcourt,  and  Mrs.  Billington. 
The  play  was  exceedingly  well  acted,  an  especial 
hit  being  made  by  Charles  Harcourt  in  the  char- 
acter of  the  Count  d'Aiibeterre.  Mr.  Bandmann 
retired  from  the  cast  in  the  early  part  of  the  run, 
and  was  succeeded  as  Pierre  by  Herman  Vezin, 
who  continued  in  the  character  until  the  play  was 
withdrawn. 

But  A.  R.  Cazauran,  who  was  the  play  reader 
and  dramatist  attached  to  the  Union  Square  Thea- 
tre, had  anticipated  the  British  adapter  by  several 
months,  and  five  days  after  its  production  in  New 
York  under  the  literally  translated  title  of  "A  Cele- 
brated Case,"  the  play  was  brought  out  at  the  Bos- 
ton INIuseum,  on  January  28,  1878,  with  Mr.  Bar- 
ron as  Jean,  Mr.  Warren  as  Dennis  O'Rourke, 
IMiss  Clarke  as  Adrienne,  and  the  other  leading 
roles  intrusted  to  ]\Irs.  Vincent,  Mr.  McClannin, 
and  Miss  Fannie  Reeves.  The  performance  was 
received  on  all  sides  with  enthusiasm,  and  the 
play  ran  continuously  at  the  Museum  tmtil  the  20th 
of  the  following  February.  "j\Ir.  Barron,"  says 
a  contemporary  account,  "plays  the  soldier — the 
victim  and  martyr — and  acts  it  with  the  finest  ar- 
tistic discretion  and  reserve,  harrowing  most  the 
best  seasoned  theatre-goers  by  the  complete  natu- 


62  pap^  of  tljc  present, 

ralness  and  manliness  of  his  heartbroken  misery. 
His  grimy  make-up  for  the  convict  is  a  completer 
self-abnegation  for  the  sake  of  art  than  is  often 
seen  upon  the  stage." 

Then  came,  from  season  to  season,  revivals  of 
the  play  throughout  many  sections  of  the  United 
States.  George  W,  Wilson,  James  O'Neill,  and 
Alexander  Salvini  have  played  Jean  Renmid  in 
recent  years,  and  Kate  Meek,  Elizabeth  Robins, 
Agnes  Booth,  and  Georgia  Cayvan  have  played 
Adrienne. 

The  Charity  Ball,  a  comedy  drama  in  four  acts 
by  David  Belasco  and  Henry  C.  De  Mille,  was 
produced  at  the  Lyceum  Theatre,  New  York,  on 
November  19,  1889,  with  the  following  cast: 

John  Van  Burcn Herbert  Kelcey. 

Dick  Van  Buren  Nelson  Wheatcroft. 

Judge  Peter  Gurney  Knox William  J.  Le  Moyne. 

Franklin  Cruger  Charles  Walcot. 

Mr.  Creighton  Harry  Allen. 

Alec  Robinson  Fritz  Williams. 

Mr.  Belts Walter  C.  Bellows. 

Ann  Cruger  Georgia  Cayvan. 

Phyllis  Lee  Grace  Henderson. 

Bessie  Van  Burcn Effie  Shannon. 

Mrs.  Camilla  de  Peyster  Mrs.  Charles  Walcot. 

Mrs.  Van  Buren  "      Thomas  Whiffen, 

The  success  of  "The  Charity  Ball"  was  imme- 
diate. It  ran  at  the  Lyceum  Theatre  for  a  long 
period,  was  played  in  many  cities  season  after  sea- 
son by  the  Lyceum  stock  company,  and  is  now 


^lap^  of  tfjc  5prcj^ciit.  e^, 

given  occasionally  by  resident  and  stock  com- 
panies in  various  parts  of  the  United  States. 
Upon  the  retirement  of  IMiss  Cayvan  from  the 
Lyceum  Company,  Miss  Isabel  Irving  succeeded 
to  her  roles,  and  among  them  was  that  of  Ann 
Cruger  in  "The  Charity  Ball."  The  life  of  the 
play  is  doubtless  due  to  the  direct  fashion  in  which 
its  story  of  mingled  happiness  and  suffering  ap- 
peals to  the  playgoer,  and  to  the  theatrical  skill 
with  which  its  component  parts  were  pieced  to- 
gether by  Air.  Belasco.  Its  well-knit  texture,  its 
frequent  flashes  of  dramatic  power^  its  clear  char- 
acterization of  modern  types,  all  did  much  to  offset 
the  weakening  effect  of  its  spurious  "comedy" 
scenes,  the  most  of  which  were  remarkable  more 
for  their  vulgarity  than  for  their  wit. 

The  Christian,  a  drama  in  prologue  and  four 
acts,  founded  by  Hall  Caine  upon  his  novel  of  the 
same  name,  was  produced  at  the  Empire  Theatre 
in  Albany  on  September  23,  1898.  The  following 
two  weeks  it  was  played  successively  in  Washing- 
ton and  Providence,  and  on  the  loth  of  October 
it  began  an  engagement  at  the  Knickerbocker 
Theatre  in  New  York  which  continued  tmtil  the 
following  March.  The  original  cast  of  charac- 
ters was : 

John  Storm  Edward  J.  Morgan. 

Lord  Storm  C.  G.  Craig. 

Horatio  Drake  John  Mason. 


64  papjsf  of  tljjc  ^rc^mt* 


Lord  Robert  Ure  Jameson  Lee  Finney. 

Archdeacon  IVealtliy  George  Woodward. 

Father  Lamplugh R.  J.  Dillon. 

Parson  Quavle  Guy  Nichols. 

The  "Faro  King" Myron  Calice. 

The  Manager Edgar  Norton. 

Brother  Paul Frank  J.  Keenan. 

Mrs.  Callender  Mrs.  Georgia  Dickson. 

Polly  Love Ethel  Marlowe. 

Betty    Carrie  Merrilees. 

Letty    Perdita  Hudspeth. 

Nettie    Bessie  Dunn. 

Liza   Edith  Merrilees. 

Glory  Qiiayle   Viola  Allen. 

The  production  of  "The  Christian"  marked  the 
beginning  of  Viola  Allen's  career  as  a  star,  and  she 
continued  to  play  Glory  Quayle  for  two  succes- 
sive seasons.  Mr.  Morgan  as  John  Storm  was 
succeeded  by  Joseph  Haworth,  Henry  Jewett,  and 
Robert  Drouet,  and  in  1901-1902  he  was  starred 
in  the  title  role,  with  Elsie  Leslie  as  Glory  Quayle. 
On  October  16,  1899,  "The  Christian"  was  pro- 
duced in  London  at  the  Duke  of  York's  Theatre, 
with  Herbert  Waring  as  John  Storm  and  Evelyn 
Millard  as  Glory  Quayle.  It  was  continued  there 
but  a  short  time,  and  has  never  proved  popular 
in  England. 

When  "The  Christian"  in  dramatic  form  was 
announced  as  Hall  Caine's  unaided  work,  there 
was  at  least  something  to  be  hoped  for.  Mr.  Caine 
has  always  been  too  good  a  craftsman  to  make  of 
his  own  accord  an  ill-proportioned  novel  or  an  ill- 
constructed  play,  and  although  he  has  never  shown 
himself  anywhere  near  the  equal  of  Wilkie  Col- 
lins in  logical  plot-building  and  descriptive  char- 


VIOLA  ALLEN, 

A«  Glory  Quayle,   in  the  Christian. 


^Iap0  of  tf)c  5prc?ait»  65 

acter-writing,  he  has  always  made  apparent  his 
ability  to  follow  a  narrative  from  an  explicit  be- 
ginning to  a  logical  end.  But  'The  Christian" 
proved  to  be  a  very  mediocre  piece  of  dramatic 
work.  In  action  it  was  slow,  in  dialogue  it  was 
verbose  and  long-winded,  in  character  drawing  it 
was  distorted  and  frequently  incomprehensible. 
Its  progress  was  clogged  by  the  introduction  of 
characters  obviously  forced  upon  the  scene  to  give 
local  color  and  humor.  Mr.  Caine's  theme  was 
to  outline  a  few  years  in  the  lives  of  Glory  Qttayle 
and  John  Storm,  and  to  carry  a  woman  through 
the  world  and  its  temptations  into  the  folds  of  the 
Church  and  into  her  lover's  arms.  In  the  midst  of 
their  adventures  the  woman  is  invariably  frivol- 
ous and  virtuous,  the  man  conspicuously  austere 
and  of  course  equally  virtuous,  uttering  constant 
preachments  upon  the  dangers  of  an  evil  life  and 
the  glories  of  righteous  living.  The  novel  ended 
with  the  death  of  John  Storm;  the  play  leaves  him 
alive,  with  promise  of  a  speedy  union  with  Glory 
Qnayle. 

The  Climbers,  a  play  of  modern  life  in  four  acts 
by  Clyde  Fitch,  was  produced,  under  the  manage- 
ment of  Miss  Amelia  Bingham,  at  the  Bijou  Thea- 
tre, New  York,  on  January  15,  1901.  The  cast 
was: 

Richard  Sterling   Frank  Worthing. 

Edward   Warden    Robert  Edeson. 

Frederick  Mason  John  Flood. 

Johnny  Trotter Ferdinand  Gottschalk. 

5 


66  pap^oftljc^^rc^ciit 


Dr.  Steinart George  C.  Boniface. 

Godesby    J.  B.  Sturges. 

Ryder    Mr.  Kinard. 

Servant   Henry  Warwick. 

Jordan Edward  Moreland. 

Leonard    Henry  Stokes. 

Footman  Frederick  Wallace. 

Richard  Sterling,  Jr Harry  Wright. 

Mrs.  Hunter  Madge  Carr  Cooke. 

Mrs.  Sterling Amelia  Bingham. 

Jessica  Hunter  Maud  Monroe. 

Clara  Hunter  Minnie  Dupree. 

Miss  Hunter  Annie  Irish. 

Miss  Godesby  Clara  Bloodgood. 

Miss  Sillerton  Ysobel  Haskins. 

Thompson    Lillian  Eldridge. 

Marie    Florence  Lloyd. 

"The  Climbers"  remained  at  the  Bijou  Theatre 
for  several  months,  and  in  the  early  part  of  the 
following  season  it  was  played  in  Boston  and 
other  principal  American  cities.  The  changes  in 
the  cast  then  involved  the  appearance  of  James 
Carew  as  Frederick  Mason,  Alfred  Fisher  as  Dr. 
Steinart,  Marian  Gardiner  as  Jessica  Hunter,  Ethel 
Winthrop  as  Miss  Hunter,  Bijou  Fernandez  as 
Miss  Godesby,  and  Florence  Lloyd  as  Miss  Sil- 
lerton. 

The  Colleen  Bawn,  a  melodrama  in  five  acts, 
was  founded  by  Dion  Boucicault  upon  "The  Col- 
legians," a  novel  of  Irish  life  by  Gerald  Griffin, 
who,  as  poet,  novelist,  and  dramatist,  would  have 
made  a  lasting  mark  in  the  literary  world  had  he 
not  turned  to  the  ecclesiastical  life  while  his  liter- 
ary reputation  was  yet  in  the  making.     He  was 


pliip^  of  tfjc  present*  67 

the  author  of  several  notable  dramas,  and  his 
poems  and  novels  displayed  an  imaginative  gift 
which  might  have  made  him  famous  among  the 
members  of  a  race  which  has  brought  forth  many 
remarkable  literary  geniuses. 

The  first  stage  version  of  "The  Collegians,"  en- 
titled "Eily  O'Connor,  or  The  Foster-Brother," 
was  made  by  J.  Egerton  Wilks,  and  was  pro- 
duced at  the  City  Theatre  in  Grub  Street,  Lon- 
don, on  July  23,  1 83 1,  It  was  in  two  acts,  and 
introduced  the  water-cave  scene,  which  was  the 
leading  feature  of  later  revivals.  The  cast  in- 
cluded ]\Irs.  Chapman  as  Eily  O'Connor,  Miss 
Forde  as  Ann  Chute,  Miss  Ellen  Tree  as  the 
Widow  Cregan,  James  Vining  as  Hardress  Cre- 
gan,  John  Kemble  Chapman  as  Danny  Mann,  and 
J.  B.  Buckstone  as  Lowry  Lobby,  the  prototype  of 
Boucicault's  Myles-na-Coppaleen.  "Eily  O'Con- 
nor" was  subsequently  revived  at  the  Subscription 
Theatre  in  Surrey  Street,  Strand,  afterward  known 
as  the  Strand  House,  on  October  29,  1832,  with 
E.  W.  Elton  as  Hardress  Cregan,  John  Kemble 
Chapman  as  Danny  Mann,  Sam  Chapman  disLowry 
Lobby,  Miss  Mary  Glover  as  Eily  O'Connor,  Miss 
Pearce  as  Ann  Chute,  and  Miss  Cooke  as  the 
Widozv  Cregan.  It  did  not  achieve  even  average 
popularity,  and  soon  disappeared  from  public  view. 

The  story  of  "The  Colleen  Bawn"  was  founded 
on  fact,  but  as  the  novel  was  written  about  a  dozen 
years  after  the  actual  murder,  the  author  was  com- 


68  ¥^Iap^  of  tf^t  ^tc0mt 

pelled  to  alter  the  true  facts  so  as  not  to  offend 
the  hving  members  of  the  culprit's  family,  who 
held  high  position  in  the  city  and  county  of  Lim- 
erick. The  facts  in  the  case  may  be  found  in  the 
"Recollections  of  an  Irish  Police  Magistrate," 
published  by  Ward,  Locke  &  Co.  of  London. 

Dion  Boucicault's  version,  called  "The  Colleen 
Bawn,  or  The  Brides  of  Garryowen,"  was  pro- 
duced for  the  first  time  on  any  stage  at  Laura 
Keene's  Theatre  in  New  York  on  March  27,  i860, 
with  the  following  cast : 


Myles-na-Coppaleen Dion  Boucicault. 

Hardress  Cregan   H.  F.  Daly. 

Danny  Mann  Charles  Wheatleigh. 

Kyrle  Daly  Charles  Fisher. 

Father  Tom  Dan  Leeson. 

Mr.  Corrigan  G.  Burnet. 

Bertie  O' Moore Mr.  Henry. 

Hyland  Creagh  Milnes  Levick. 

Corporal    Mr.  Clark. 

Eily  O'Connor Agnes  Robertson. 

Ann  Chute  Laura  Keene. 

Mrs.  Cregan   Madame  Ponisi. 

Sheelah    Mary  Wells. 

Kathleen  Creagh Josephine  Henry. 

Ducie  Blennerhasset       Miss  Hamilton. 


It  immediately  became  popular,  and  was  played 
in  London  for  the  first  time  on  September  10,  i860, 
at  the  Adelphi  Theatre,  the  cast  including  many 
famous  English  players.  In  addition  to  Mr.  Bou- 
cicault and  ]\Iiss  Robertson,  who  played  the  char- 
acters they  had  assumed  in  New  York,  John  Bil- 
lington    appeared    as    Hardress    Cregan,    David 


3plapsf  of  tt^t  present  69 

Fisher  as  Kyrlc  Daly,  Edmund  Falconer  as  Danny 
Mann,  C.  H.  Stephenson  as  Father  Tom,  Mrs. 
Billington  as  Mrs.  Cregan,  and  Mrs.  Alfred  Mellon 
as  Ann  Chute.  There  were  no  tanks  of  real  water 
in  those  days,  and  so  Myles  rescued  Eily  from  a 
pasteboard  water  cave,  and  came  up  smiling  with 
her  between  the  gauzes  and  the  gaslights. 

Since  then  "The  Colleen  Bawn"  has  been  per- 
formed throughout  Europe,  America,  and  Aus- 
tralia. The  most  notable  revival  was  at  the  Prin- 
cess's Theatre  in  London  on  January  25,  1896, 
when  Agnes  Robertson  took  the  part  of  Mrs. 
Cregan. 

The  Conquerors,  a  drama  in  four  acts  by  Paul 
M.  Potter,  was  produced  at  the  Empire  Theatre, 
New  York,  on  January  4,  1898,  and  ran  there  for 
a  period  of  several  months.    It  was  cast  as  follows  : 

Eric  von  Rodeck  William  Faversham. 

General  von  Brandenburg  E.  Y.  Backus. 

Major  von   Wolfshagen   J.  H.  Benrimo. 

Captain  Theobald  Korner Joseph  Wheelock,  Jr. 

Lieutenant  Otto  Berent   John  R.  Sumner. 

Lieutenant  Rudolph  Heiberg  ....  G.  W.  Howard. 

Hugo,  Baron  of  Grandpre Guy  Standing. 

Abbe  Dagobert  W.  H.  Crompton. 

Jean  Baudin,  called  Bobeche  ....  George  Osbourne,  Jr. 
Merle        }    ,     j  /  n-         5  John  Armstrong. 

Rossignoll    tradesmen  of  Dinan  {'^^^^^  Brownlee. 

Cri-Cri  X"n^hU„^^;ct."         i  George  C.  Pearce. 

Chantcclaire]   '-'rpf^eomsts  ....  |  ^Villiam  Workman. 

Yvonne  de  Grandpre  Viola  Allen. 

Jeanne  Marie  Baudin,  her  foster- 
sister   Blanche  Walsh. 


5 


* 


70  ^l^W  ^^  f!)c  5Pt*f^'f  ttt. 


Babiole  de  Grandpre,  her  sister. .  Jessie  Busley. 
Poulette     \  /  May  Robson. 

Anita  I  Parisian  )  Gillian  Thurgate. 

Elodie         >      j^.,^:„„  „:,.u        \  Clara  Bloodgood. 
Celine         \      ^'^"^'"^  ^"^^         j  Adeline  Mann. 
Veronique  /  v  Frances  Comstock. 

Some  time  after  the  first  performance,  Mr.  Pot- 
ter acknowledged  his  indebtedness  to  Guy  de  Mau- 
passant's "Mademoiselle  Fifi,"  but  no  mention  of 
that  fact  was  made  on  the  bill  of  the  play.  The  ar- 
tistic and  moral  defects  of  "The  Conquerors"  raised 
an  immediate  clamor,  but  they  were  greatly  exag- 
gerated. Its  offenses  lay  plainly  upon  the  surface, 
and  not  the  least  of  these  was  the  fact  that  while 
"The  Conquerors"  masqueraded  as  a  high-class 
drama,  it  was  really  a  melodrama  of  the  most  bla- 
tant type.  It  fairly  bristled  with  sensational 
points,  some  of  them  very  clever  from  a  purely 
theatrical  standpoint,  but  it  lacked  almost  every 
logical  element  which  goes  toward  the  making  of  a 
complete  drama.  The  plot  was  a  constant  riot  of 
physical  violence  and  mental  emotions.  Its  por- 
trayal of  real  life — for  it  was  not  a  romance,  and 
it  did  professedly  attempt  to  portray  real  life — was 
too  one-sided  to  be  accepted  for  a  moment.  Its 
characters  were  all  either  great  saints  or  great 
sinners;  their  actions  and  emotions  were  all  vio- 
lent, rapidly  shifting,  and  incoherent.  There  was 
not  the  slightest  touch  of  delicacy,  of  subtlety,  of 
refinement  in  the  play. 

Some  time  after  the  production  of  "The  Con- 


Jplapjef  of  tf^t  present  7 1 


querors,"  Jessie  Millward  succeeded  Viola  Allen 
as  Yvonne,  and  Eleanor  Moretti  replaced  Blanche 
\\'alsh  as  Jeanne  Marie.  On  April  14,  1898,  after 
some  changes  had  been  made  in  the  plot,  it  was 
produced  in  London  at  the  St.  James's  Theatre, 
with  George  Alexander  as  Eric,  Julia  Neilson  as 
Yz'onne,  and  Constance  Collier  as  Jeanne  Marie, 
but  it  failed  to  receive  the  approval  of  the  London 
public. 

The  Countess  Valeska,  a  romantic  drama  in 
four  acts,  adapted  from  "Der  Lange  Preusse" 
("The  Tall  Prussian")  by  Rudolph  Stratz,  was 
produced  at  the  Knickerbocker  Theatre  in  New 
York  on  January  10,  1898.  The  cast  was  as 
follows : 

Achim  von  Lohde Bassett  Roe. 

Herr  von  Lohde H.  A.  Langdon. 

Bogun  T.  L.  Cartwright. 

Tidcikes   T.  J.  Hart. 

Roger    Alfred  Kendrick. 

Mucchcnberg    Donald  MacLaren. 

Lamotta    E.  L.  Stuart. 

General  Lamarrois   G.  W.  Anson. 

Major  D'Ausoni   Algernon  Tassin. 

Lieutenant  Colet Frederic  Murphy. 

Grenadier  Matthicu   Dodson  L.  Mitchell. 

Count  Bjelinski  Edwin  Howard. 

Lenski  Martin  Daly. 

Azveyde Herbert  Eaton. 

Mohammed  Bey James  T.  Barton. 

Rustan    Frank  Bernard. 

Nepomuk   Charles  W.  Butler. 

Countess  Valeska   Julia  Marlowe. 

Elizabeth    Alice  Parks. 

Frau  Ursula Mrs.  Sol  Smith. 

Basir   Katherine  Wilson. 


72  l^lflp^  of  tftc  5Prc0'nit 

Stratz's  play  was  first  acted  at  the  Royal  Schaus- 
piel-Haus,  Berlin,  on  December  21,  1896,  meeting 
with  success  among  the  Germans,  as  its  romantic 
story  appealed  to  all  lovers  of  the  dran^a.  The 
scenes  were  laid  in  Poland  on  the  eve  of  the  battle 
of  Friedland  in  1807,  at  the  time  when  Napoleon 
was  allowing  the  world  to  believe  that  he  was 
really  interested  in  Poland,  and  the  play  concerned 
the  fortunes  of  the  Countess  Valeska,  who  was 
loyal  to  Poland.  She  has  saved  the  life  of  Achim 
von  Lohde  (the  Tall  Prussian)  by  allowing  him 
to  represent  himself  as  her  overseer,  is  madly  and 
wholly  in  love  with  him,  and  when  Achim,  urged 
by  his  father,  is  prepared  to  assist  in  a  plot  to 
assassinate  Napoleon,  the  struggle  between  pa- 
triotism and  love  becomes  the  key-note  of  the  play. 
The  interest  in  the  characters  was  well  sustained 
to  the  end,  and  American  playgoers  were  as  much 
pleased  with  the  play  as  were  the  Berlin  theatre- 
goers. 

Miss  Marlowe  appeared  to  good  advantage  in 
the  name-part,  the  character  offering  opportuni- 
ties for  her  to  show  her  abilities  in  comedy  and  in 
both  sentimental  and  emotional  scenes.  Mr.  Roe 
was  a  manly  Achim,  and  ]\Irs.  Smith  was  entertain- 
ing in  a  character  part.  The  play  proved  an  agree- 
able addition  to  Miss  Marlowe's  repertory,  and 
after  she  had  given  it  throughout  the  country  it 
was  eagerly  seized  upon  by  the  stock  companies, 
which  found  it  a  drawing  card. 


3^lap^  of  tgc  Prcisnit.  73 

The  Cricket  on  the  Hearth,  a  comedy  in  three 
acts,  adapted  by  Dion  Boucicault  from  Dickens's 
story,  was  produced,  under  the  title  of  "Dot,"  at 
the  Winter  Garden,  New  York,  on  September  14, 
1859.  The  cast  was  a  memorable  one,  including 
Joseph  Jefferson  as  Caleb  Phunmcr,  Harry  Pear- 
son as  John  Peerybingle,  "Dolly"  Davenport  as 
Edzvard  Plummer,  Agnes  Robertson  as  Dot,  Sara 
Stevens  as  the  blind  Bertha,  Mrs.  John  Wood  as 
Tilly  Slozvhoy,  and  Mrs.  W.  R.  Blake  as  Mrs. 
Fielding.  Later  in  the  same  season,  "Dot"  was 
brought  out  at  the  Varieties  Theatre  in  New  Or- 
leans, with  John  E.  Owens  as  Caleb  Plummer, 
C.  W.  Couldock  as  John  Peerybingle,  Charlotte 
Thompson  as  Dot,  Sara  Stevens  as  Bertha,  Polly 
Marshall  as  Tilly  Slozvboy,  and  Mrs.  W.  A.  Chap- 
man as  Mrs.  Fielding.  The  play  was  immensely 
popular  in  New  Orleans,  and  ran  for  two  months, 
an  unprecedented  period  for  that  time  and  that  city. 
The  origin  of  "The  Cricket  on  the  Hearth" 
as  a  play  is  somewhat  singular.  Dickens's  story 
was  first  dramatized  by  two  French  playwrights 
from  the  pages  of  "All  the  Year  Round,"  in  which 
it  appeared  serially,  and  was  performed  in  Paris 
under  the  title  of  "Le  ]\Iarchand  d'Enfants,"  with 
the  great  Taillard  in  the  leading  role.  Dion  Bou- 
cicault happened  to  see  the  piece  in  Paris,  and, 
without  knowing  its  origin,  made  an  English  ver- 
sion for  Joseph  Jefferson.  Not  until  rehearsals 
began  was  the  discovery  made  that  it  was  drawn 


74  5P^^Pie^  of  t(jc  5prcjSfcnt, 

from  Dickens's  story.  The  characters  were  at 
once  given  the  names  by  which  Dickens  had  chris- 
tened them,  and  the  play  was  immediately  success- 
ful. Soon  after  the  production,  however,  Jefferson 
and  Boucicault  had  a  disagreement,  and  the  origi- 
nal version  was  discarded  by  the  actor  for  one  pre- 
pared, it  is  said,  by  Albert  Smith.  In  this  the 
relations  between  Dot,  John  Peerybingle,  Caleb 
Plummer,  blind  Bertha,  and  Tilly  Slowboy  were 
carefully  interwoven,  the  second  act  containing  the 
pious  deception  of  Bertha,  and  the  third  the  pa- 
thetic disclosure  of  that  deception. 

For  forty  years  and  more  Joseph  Jefferson  has 
repeated,  season  after  season,  his  interpretation 
of  Caleb  Plummer.  ''Many  of  his  admirers,"  Wil- 
liam Winter  has  written,^  "have  long  regarded  his 
Caleb  Plummer  as  the  best  of  his  embodiments. 
The  right  method  of  estimating  the  full  stature 
of  an  actor  is  to  deduce  it  not  from  one  of  his 
works,  but  from  all  of  them.  The  performance 
of  Caleb  Plummer  was  a  touching  exemplification 
of  dramatic  art  applied  to  the  expression  of  sim- 
ple tenderness ;  but  it  revealed  only  one  phase  of 
the  actor's  strength.  Caleb  Plummer  is  a  more 
pathetic  person  to  think  about  than  to  see.  You 
cannot  read  his  story  without  tears.  But  the  mo- 
ment the  actor  makes  him  visible  he  runs  the  risk 
of  absurdity  or  of  tediousness  in  the  result,  for 

'"The  Life  and  Art  of  Joseph  Jefferson." 
By  William  Winter.     Page  225. 


papjsf  of  tfjc  l^rcjsnit.  75 

he  must  make  the  personaHty  amusing,  and  he 
must  make  the  self-sacrifice  beautiful.  The  audi- 
ence must  be  made  to  laugh  at  him — and  to  love 
him  while  they  laugh.  Jefferson's  sincerity  was 
not  more  obvious  than  his  consummate  skill.  He 
lived  in  the  character.  He  never  lapsed  out  of  the 
feeling  of  it.  He  kept  with  nature's  precision  the 
woeful  face,  and  the  forlorn,  blighted  figure — a 
being  sequent  on  years  of  penury." 

Cyrano  de  Bergerac,  a  heroic  comedy  in  five 
acts  by  Edmond  Rostand,  was  produced  by  Coque- 
lin  at  the  Theatre  de  la  Porte  St.  Martin,  Paris, 
on  December  28,  1897.  Coquelin  played  the  title 
role,  with  Mme.  Marie  Legault  as  Roxane,  M. 
Volny  as  Christian  de  Neuvillctte,  M.  Desjardins 
as  the  Comte  de  Gniche,  and  M.  Jean  Coquelin  as 
Ragiicncau.  The  play  was  immediately  published 
in  Paris,  and  in  it  Rostand  paid  the  following 
extraordinary  dedicatory  tribute  to  the  actor  and 
producer  of  his  Cyrano:  "C'est  a  I'ame  de  Cyrano 
que  je  voulais  dedier  ce  poeme.  Mais  puisqu'elle 
a  passe  en  vous,  Coquelin,  c'est  a  vous  que  je  le 
dedie."  "Cyrano  de  Bergerac"  was  continued  at 
the  Porte  St.  Martin  until  June  29,  1898,  and  a 
week  later  Coquelin  began  a  London  engagement 
at  the  Lyceum  Theatre  with  the  first  performance 
in  that  city  of  Rostand's  play.  On  December  10, 
1900,  at  the  Garden  Theatre,  New  York,  the  play 
was  performed  for  the  first  time  in  this  country 


76  Pap^  of  ti^c  ptc^mt 

in  French,  with  CoqueHn  as  Cyrano  and  Sarah 
Bernhardt  as  Roxane. 

The  fame  of  "Cyrano  de  Bergerac"  spread 
throughout  the  world  within  a  few  months  of  its 
Paris  production,  and  the  following  season  saw 
its  performance  in  the  United  States  in  various 
translations  and  under  numerous  managements. 
It  was  first  played  in  English,  in  a  translation  by 
Howard  Thayer  Kingsbury,  at  the  Garden  Thea- 
tre, New  York,  on  October  3,  1898,  with  Richard 
Mansfield  as  the  leading  actor  and  by  a  company 
under  his  personal  direction.  Mr.  Mansfield  of 
course  played  Cyrano,  and  he  was  supported  by 
Arthur  Forrest  as  the  Conite  de  Guiche,  William 
Courteney  as  Christian,  A.  G.  Andrews  as  Ragne- 
ncau,  and  Margaret  Anglin  as  Roxane.  Another 
version,  based  on  a  published  translation  by  Gladys 
Thomas  and  Mary  F.  Guillemard,  was  hastily  pre- 
pared by  Augustin  Daly  and  was  performed,  also 
on  October  3,  at  the  Chestnut  Street  Opera  House, 
Philadelphia,  with  Charles  Richman  as  Cyrano, 
James  Young  as  Christian,  Sidney  Herbert  as  the 
Conite  de  Guiche,  William  F.  Owen  as  Ragueneau, 
and  Ada  Rehan  as  Roxane.  This  version,  how- 
ever, proved  a  failure,  and  was  withdrawn  after 
a  brief  tour  through  Boston,  Baltimore,  and  a  few 
other  cities.  Mr.  Mansfield  continued  "Cyrano" 
in  his  repertory  throughout  the  season  of  1898-99. 

Other  versions,  cut  and  mangled  beyond  all  rec- 
ognition, were  performed  by  various  stock  com- 


5^Iap^  of  rtjc  ^prcj^cnt.  77 

panics  catering  to  supposed  popular  tastes,  but 
they  died  an  early  and  deserved  death.  Despite 
the  craze  aroused  by  "Cyrano,"  M.  Rostand  imme- 
diately took  high  place  in  modern  dramatic  liter- 
ature, and  soon  easily  gained  a  seat  in  the  French 
Academy.  His  play,  which  was  founded  on  the 
adventures  of  the  real  Cyrano  de  Bergerac,  whose 
name  occupies  a  small  place  in  French  literature 
and  French  history,  was  published  in  three  sepa- 
rate translations  in  this  country — the  two  already 
referred  to  and  in  another  by  Gertrude  Hall. 

"Cyrano  de  Bergerac,"  in  an  English  version  by 
Louis  N.  Parker  and  Stuart  Ogilvie,  was  per- 
formed in  London  for  the  first  time  in  English  at 
Wyndham's  Theatre,  April  19,  1900,  with  Charles 
Wyndham  as  Cyrano,  Alfred  Kendrick  as  Chris- 
tian, Jerrold  Robertshaw  as  De  Guiche,  George 
Giddens  as  Ragiicncau,  and  Mary  Moore  as  Rox- 
ane.    It  was  not  a  success. 

The  Dancing  Girl,  a  drama  in  four  acts  by 
Henry  Arthur  Jones,  was  produced  by  Beerbohm 
Tree  at  the  Theatre  Royal,  Haymarket,  in  Lon- 
don, on  January  15,  1891.     The  cast: 

The  Duke  of  Giiischury   Beerbohm  Tref. 

Hon.  Reginald  Slingshy   Frederick  Kerr. 

David  Ives  Mr.  Fernandez. 

John   Christison    Fred  Terry. 

Lady  Bawtry  Rose  Leclercq. 

Faith  Ives  Blanche  Horlock. 

Drusilla  Ives  Julia  Neilson. 

Sybil  Crake  Rose  Norreys. 


78  Papie?  of  tlje  ^rcjEfctit* 

The  play  met  with  so  favorable  a  reception  in 
London  that  it  was  immediately  secured  for  Ed- 
ward H.  Sothern,  who  desired  to  appear  in  more 
serious  characters  than  those  hitherto  provided  for 
him  in  "Lord  Chumley"  and  "The  Highest  Bid- 
der," upon  which  he  had  staked  the  first  part  of 
his  starring  career.  He  produced  it  in  New  York 
at  the  Lyceum  Theatre  on  August  31,  1891,  the 
cast  including  Mr.  Sothern  as  the  Duke  of  Guise- 
bury,  Morton  Selten  as  Slingsby,  Augustus  Cook 
as  David  Ives,  Bessie  Tyree  as  Faith  Ives,  Jennie 
Dunbar  as  Sybil  Crake,  and  Virginia  Harned  as 
Drusilla  Ives.  Later,  Harry  Eytinge  succeeded 
Augustus  Cook  as  David  Ives.  For  some  reason, 
"The  Dancing  Girl"  did  not  remain  long  in  Mr. 
Sothern's  repertory,  and  was  soon  discarded  for 
the  plays  which  have  led  up  to  his  recent  success 
as  a  romantic  actor. 

Mr.  Tree  opened  his  second  American  tour  in 
Washington  on  November  23,  1896,  with  his  first 
performance  in  this  country  of  "The  Dancing 
Girl."  He  gave  the  play  for  the  first  time  in  New 
York  at  the  Knickerbocker  Theatre  on  December 
7,  with  Kate  Rorke  as  Drusilla  Ives  and  Lionel 
Brough  as  David  Ives. 

Dandy  Dick,  a  farce  in  three  acts  by  Arthur  W. 
Pinero,  was  produced  at  the  Court  Theatre,  Lon- 
don, on  January  27,  1887,  and  was  given  one  hun- 
dred   and    eighty-four    consecutive    performances 


J^lapj^  of  rtjc  Jprc^cnt.  79 

before  the  exigencies  of  the  theatrical  season  com- 
pelled its  withdrawal.  It  was  later  revived  suc- 
cessfully at  Toole's  Theatre,  with  only  two  changes 
in  the  cast,  Alfred  Bishop  appearing  as  Blore,  and 
Eva  Wilson  as  SJieha.    The  original  cast  was : 

The  Very  Rev.  Attgustin  Jedd,  D.D.  . .  John  Clayton. 

Sir  Tristram  Mardon,  Bart Edmund  Maurice. 

Major  Tarvcr  F.  Kerr. 

Mr.  Darbey  H.  Eversfield. 

Blore   Arthur  Cecil. 

Noah  Topping  W.  H.  Denny. 

Hatcham W.  Lugg. 

Georgiana   Tidnian    Mrs.  John  Wood. 

Salome    Marie  Lewis. 

Sheba Rose  Norreys. 

Hannah  Topping  Laura  Linden. 

"Dandy  Dick"  received  occasional  revivals  on 
the  London  stage,  the  most  important  being  that 
at  Wyndham's  Theatre  on  February  8,  1900,  Mr. 
Maurice  and  Mr.  Denny  acting  the  characters  they 
assumed  in  the  original  production.  Alfred  Bishop 
appeared  as  the  Kcv.  Dr.  Jedd,  A.  Vane  Tempest 
as  Major  Tarver,  Stanley  Cooke  as  Mr.  Darbey, 
George  Giddens  as  Blore,  Violet  Vanbrugh  as 
Georgiana  Tidman,  Maud  Hoffman  as  Salome, 
Grace  Lane  as  Sheba,  and  Annie  Hughes  as  Han- 
nah Topping. 

The  first  performance  of  "Dandy  Dick"  in  Amer- 
ica was  given  on  October  5,  1887,  at  Daly's  Thea- 
tre, New  York,  the  cast  including  Charles  Fisher 
as  the  Rev.  Dr.  Jedd,  George  Clarke  as  Sir  Tris- 
tram Mardon,  John  Drew  as  Major  Tarver,  Otis 


8o  ^IflP^  of  t^t  ^tC0Cttt 

Skinner  as  Mr.  Darbey,  James  Lewis  as  Blore,  and 
Ada  Rehan  as  Georgiana  Tidman.  It  was  per- 
formed by  Mr.  Daly's  company  only  thirty-two 
times.  A  contemporary  critic  said  that  Miss  Rehan 
was  "not  over-interesting  as  Georgiana  Tidman." 
A  notable  production  of  "Dandy  Dick"  was  given 
by  the  celebrated  stock  company  at  the  Boston 
Museum,  Alfred  Hudson  appearing  as  the  Rev. 
Dr.  Jedd,  Charles  Barron  as  Sir  Tristram  Mardon, 
Edgar  L,  Davenport  as  Major  Tarver,  William 
Seymour  as  Mr.  Darbey,  George  W.  Wilson  as 
Blare,  Annie  Clarke  as  Georgiana  Tidman,  and 
Isabelle  Evesson  as  Sheba.  "Dandy  Dick"  has 
been  revived  occasionally  in  this  country  as  well 
as  in  England. 

The  Danites,  a  melodrama  in  five  acts  by  Joa- 
quin Miller,  was  produced  at  the  Broadway  Thea- 
tre in  New  York  on  August  22,  1877.  The  cast 
was  as  follows : 


Alexander  McGee  McKee  Rankin. 

Charley  Godfrey Louis  Aldrich. 

William  Wise  W.  H.  Lytell. 

Thomas  Adolphus  Grosvenor  . . .  W.  J.  Coggswell. 

Grasshopper  Jake  B.  T.  Ringgold. 

Bill  Hickman Alexander  Fitzgerald. 

Hezekiah  Carter  G.  B.  Waldron. 

IVashee  Washee  Harry  Pratt. 

Georgie  Williams  Little  Manie. 

Nancy  Williams  Kittie  Blanchard. 

Htildali  Brown  Lillie  Eldridge. 

Sallie  Sloan  Ida  Jeffreys. 

Henrietta  Dickson Ada  Oilman. 


plapjBf  of  tf)c  5prci^nit»  si 

"The  Danites,"  in  spite  of  its  author  being  a 
poet  of  repute,  could  not  be  seriously  considered  as 
a  work  of  dramatic  art.  Its  literary  pretensions 
were  small,  its  faults  of  construction  were  the  usual 
faults  of  melodrama,  and  had  the  play  been  pub- 
lished it  would  have  had  few  readers.  But  it  was 
a  play  for  the  stage,  not  the  closet,  and  its  author 
doubtless  never  thought  of  his  reputation  as  a 
poet,  but  simply  sought  to  construct  a  play  that 
should  take  with  the  public.  And  in  this  he  suc- 
ceeded beyond  his  wildest  hopes,  for  the  fresh, 
original  American  types,  the  local  color,  the  pic- 
turesque and  connected  story,  clean,  sharp-cut, 
convincing,  carried  the  piece  to  a  remarkable  popu- 
larity— a  popularity  to  which  the  actors  contributed 
and  in  which  they  shared.  Mr.  Rankin  made  a 
great  success  as  Alexander  McGee,  while  his  wife, 
Kittie  Blanchard,  portrayed  the  character  of  Nancy 
Williams  with  such  fine  insight  into  the  various 
phases  of  that  young  woman's  changing  person- 
ality that  these  two  parts  alone  would  have  saved 
the  fortune  of  even  a  poor  play.  For  years  these 
two  continued  to  appear  in  these  characters,  and 
then  Mr.  Rankin  alone  starred  in  the  piece  with 
unwaning  popularity.  Within  the  past  few  years 
the  stock  companies  have  obtained  possession  of 
"The  Danites,"  and  it  has  shown  as  good  drawing 
powers  with  the  local  players  as  with  the  stars. 
Probably  few  American  plays  have  been  so  often 
given  during  the  last  quarter-century  as  this,  and 
6 


82  f^litp.i^  of  tfjc  5prc^nit. 

it  bids  fair  to  run  on  indefinitely  so  long  as  the 
stock  companies  want  an  exciting  and  entertain- 
ing drama. 

David  Garrick,  a  comedy  in  three  acts  adapted 
by  Thomas  W.  Robertson  from  a  French  drama 
called  "Sullivan,"  was  first  tried  tentatively  at  the 
Prince  of  Wales's  Theatre  in  Birmingham,  Eng- 
land, with  E.  A.  Sothern  in  the  title  role.  Mr. 
Sothern  imagined  that  he  had  failed  to  interpret 
the  character  of  David  Garrick  correctly,  but  the 
play  was  nevertheless  taken  to  London,  and  on 
April  30,  1864,  was  performed  at  the  Haymarket 
Theatre.  The  original  draft  of  "David  Garrick" 
was  sold  to  a  dramatic  publisher  for  £10,  and  it 
had  been  laid  aside  for  eight  years  before  Sothern 
hit  upon  it  as  an  appropriate  character  to  follow 
Lord  Dundreary.  The  first  actress  to  interpret 
Ada  Ingot  was  Miss  Nellie  Moore,  and  to  her  act- 
ing Mr.  Sothern  generously  attributed  the  London 
success  of  the  production.  "In  his  early  perform- 
ances in  'David  Garrick' — especially  the  scenes 
in  which  he  attempts  to  disenchant  the  citizen's 
daughter  by  assuming  the  excesses  of  a  drunkard 
— Mr.  Sothern  was  droll  and  effective,  without 
being  overstrained,  and  there  was  real  feeling  in 
his  sense  of  the  humiliation  he  inflicts  upon  him- 
self to  save  the  girl  who  loves  him  from  a  mis- 
placed passion.  His  declamation  of  some  tragic 
lines,  though  a  little  heightened  for  the  special 


EDWARD  A.  SOTHERN, 

As  David  Garriek. 


3plap3ef  of  rtjc  prc.Bntt.  s^ 

occasion,  was  so  fervent  that  it  might  have  been 
effective  if  his  acting  had  been  in  earnest.  More 
than  once,  when  he  expressed  his  besetting  desire 
to  play  tragedy,  and  his  fear  that,  after  Lord  Dim- 
dreary,  the  pubhc  would  not  accept  him,  'Deliver 
tragedy,'  I  said,  'as  you  do  in  "David  Garrick," 
only  omit  the  touch  of  burlesque,  and  you  may 
succeed.'  'Ah!  but  it  is  just  because  in  "David 
Garrick"  it  is  burlesque,'  he  replied,  'that  I  dare 
let  myself  go.'  This  reply  seemed  to  me  to  light 
up  the  entire  situation."  ^ 

Mr.  Sothern  soon  made  his  David  Garrick  a 
prominent  stage  figure  on  both  sides  of  the  ocean. 
His  successors  in  the  part  have  been  numerous, 
and  by  playgoers  who  remember  the  early  days 
of  "David  Garrick"  they  are  always  judged  in  com- 
parison with  the  first  interpreter  of  the  character. 
Charles  Wyndham,  Lawrence  Barrett,  Salvini, 
Edward  S.  Willard,  Robert  Downing,  N.  C.  Good- 
win, and  Creston  Clarke  are  among  the  many  ac- 
tors who  have  played  "David  Garrick"  during  the 
forty  years  which  have  elapsed  since  its  production. 

David  Harum,  a  play  in  three  acts  by  R.  and 
M.  W.  Hitchcock,  founded  upon  Edward  Noyes 
Westcott's  novel  of  the  same  name,  was  produced 
at  the  Lyceum  Theatre  in  Rochester,  New  York, 
on  April  9,  1900,  and,  after  a  week  in  that  city, 

^  "Our  Recent  Actors."    By  Westland  Marston. 
London :  1890.     Page  323. 


84  S^Iap^  of  tjc  5f)rcj^ait, 

was  given  for  a  fortnight  in  Syracuse,  Buffalo, 
and  Albany,  with  William  H.  Crane  as  the  Home- 
ville  banker.  Having  thus  put  the  play  in  shape 
for  next  season's  presentation,  Mr.  Crane  went  to 
Cohasset,  Massachusetts,  for  a  long  summer's  out- 
ing, and  on  October  i,  1900,  opened  his  season  at 
the  Garrick  Theatre  in  New  York  with  the  play 
thus  cast: 

David  Harum  William  H.  Crane. 

John  Lenox  George  S.  Probert. 

General  Wolsey  Frank  Burbeck. 

Chet  Timson Charles  Jackson. 

Dick  Larribee  William  Sampson. 

Deacon  Perkins  Homer  Granville. 

'Zeke  Swinney  Sheridan  Tupper. 

Amos  Elright  Will  Dean. 

Dug  Robinson   George  F.  Devere. 

Peleg  Hopkins  Charles  Avery. 

Bill  Montaig  W.  Dupont. 

Mary  Blake  Katherine  Florence. 

Aunt  Polly  Bixby  Kate  Meek. 

Widow  Cullurn   Lois  Frances  Clark. 

The  dramatized  version  of  "David  Harum"  gave 
as  much  pleasure  to  theatre-goers  as  the  novel  itself 
had  given  to  its  readers ;  for,  although  the  play  did 
not  possess  much  dramatic  merit,  the  humor  of  the 
story  and  the  talents  of  Mr.  Crane  made  the  piece 
a  great  popular  success.  There  was  about  as 
much  plot  to  the  play  as  there  was  to  the  book,  and 
the  parts  of  the  drama  which  proved  the  most 
entertaining  were  those  which  had  been  trans- 
ferred bodily  from  the  pages  of  the  novel.  The 
principal  figure  was  Harum  himself,  who  was  kept 


pJap^ef  of  t^t  ^tc^mt  85 

on  the  stage  during  almost  the  entire  action  of  the 
play,  and  the  comedian  succeeded  in  giving  a  pic- 
ture of  the  shrewd,  sharp,  but  kindly  country 
banker  and  horse-trader  which  was  instantly  rec- 
ognized by  any  one  who  had  read  the  novel.  Mr. 
Crane  contrived  to  emphasize  some  of  the  most 
amiable  and  entertaining  characteristics  of  the 
character,  bringing  out  the  humor,  the  cleverness, 
and  the  true  big-heartedness  of  the  Central  New 
Yorker.  It  would  probably  be  agreed  that  the 
actor  had  never  done  a  finer  piece  of  work  in  his 
whole  career,  and  the  fact  that  he  is  still  appearing 
in  the  same  part,  and  is  likely  to  continue  to  pre- 
sent it  for  some  seasons  to  come,  shows  how 
pleased  the  public  has  been  with  his  masterpiece. 
The  entire  cast  was  excellent,  and  although  the 
following  season  a  few  changes  were  made  in  it, 
they  were  of  little  moment.  Perhaps  the  players 
who  most  completely  realized  their  prototypes  in 
the  novel  were  Mr.  Jackson  as  Chet  and  Miss  Clark 
as  the  Widozv.  Each  of  these  seemed  to  have 
stepped  out  from  the  pages  of  the  book,  and  their 
lifelike  impersonations  were  a  treat  and  a  delight. 
Indeed,  while  the  critics  could  not  conscientiously 
praise  the  play,  they  had  only  words  of  praise  for 
the  players. 

The  Devil's  Disciple,  a  drama  in  three  acts  by 
George  Bernard  Shaw,  was  produced  by  Richard 
Mansfield   at   Harmanus   Bleecker   Hall,   Albany, 
6* 


86  paji^  of  t!)c  prc^efciit. 

New  York,  on  October  i,  1897,  with  the  following 
cast : 

Anthony  Anderson  Ben  Johnson. 

Judith  Anderson   Beatrice  Cameron. 

Mrs.  Annie  Dudgeon  Minnie  Monk. 

Richard  Dudgeon Richard  Mansfield. 

Christopher  Dudgeon  A.  G.  Andrews. 

Uncle  William  Dudgeon  W.  N.  Griffith. 

Uncle  Titus  Dudgeon  Mr.  Lefevre. 

Essie    Miss  Briscoe. 

Lazvyer  Hawkins  T.  M.  Hunter. 

General  Burgoyne  Arthur  Forrest. 

Major  Swindon  Joseph  Weaver. 

Rev.  Mr.  Brudenell William  Courteney. 

A  Sergeant   Francis  Kingdon. 

It  was  immediately  taken  to  New  York,  and  on 
October  4  following  was  produced  at  the  Fifth 
Avenue  Theatre,  with  the  same  cast  as  that  above 
given.  "The  Devil's  Disciple"  is  in  many  ways  a 
remarkable  play.  It  was  founded  on  a  sensible, 
logical,  coherent  story.  Its  fable  was  simple  and 
uninvolved,  yet  forcible  and  fascinatingly  interest- 
ing. It  offered  no  entanglement  to  keep  the  brain 
awhirl  in  search  of  a  solution.  It  could  be  fol- 
lowed steadily  and  thoughtfully  with  no  effort 
whatever  in  understanding  it,  but  requiring  the 
utmost  effort  to  appreciate  the  ideas  which  under- 
lay it  and  upon  which  it  was  built.  The  popularity 
of  "The  Devil's  Disciple"  undoubtedly  arose  from 
its  child-like  tale,  and  in  spite  of  its  ventures  into 
the  land  of  abstract  philosophy.  Richard  Dudgeon, 
its  hero,  was  no  common  hero.  As  in  the  case  of 
"Arms  and  the  Ivlan,"  he  was  the  one  honest  char- 
acter amid  a  multitude  of  rogues,  although  the 


plnii.sf  of  tiyt  5pircsnit  sy 

world's  opinion  set  him  down  as  a  rogue  among 
saints.  But  Captain  Bliintschli  and  he  had  Httle 
else  in  common  beyond  that.  As  the  Bulgaria  of 
"Arms  and  the  ]\Ian"  might  have  been  any  civilized 
country  where  liars  are  plenty,  so  might  the  New 
Hampshire  of  "The  Devil's  Disciple"  have  been 
any  land  where  hypocrisy  prevails.  It  really  mat- 
tered nothing  that  Richard  Dudgeon  lived  in  a 
New  Hampshire  village  in  the  year  1777,  or  that 
he  was  surrounded  by  as  arrant  a  crowd  of  Puri- 
tans as  ever  graced  the  pages  of  history  or  fiction. 
It  mattered  not  that  the  British  army  was  on  the 
field  to  give  color  and  picturesqueness  to  the  story. 
It  mattered  only  that  Dudgeon  was  a  disciple  of 
the  devil,  a  heretic,  a  blasphemer,  a  roisterer,  but, 
more  than  all  else,  a  hero  who  offered  to  give  up 
his  life  on  the  gallows  as  an  American  rebel,  not 
because  he  wished  to  save  the  parson  who  cow- 
ardly deserted  him,  not  because  he  loved  the  par- 
son's wife,  but  because  it  suited  his  nature  to  do 
so.  "What  does  anything  matter?"  he  cries.  Mr. 
Mansfield  was  not  alone  among  his  comrades  as  an 
apt  interpreter  of  Shaw's  philosophy.  He  acted 
Dudgeon  with  all  his  powerful,  caustic,  sardonic 
humor,  forcing  us  to  believe  in  the  man  and  to  ac- 
cept him  as  the  hero  he  was.  With  all  his  incom- 
parable gifts  as  an  actor,  Mr.  Mansfield  has  one 
gift  which  transcends  them  all,  the  intellectual 
power  to  absorb  himself  completely  within  a  char- 
acter.    The  soul  of  the  character  is  his. 

"The  Devil's  Disciple"  was  acted  by  Mr.  Mans- 


88  pnjj-ef  of  tfjc  5prc^cnt» 

field  throughout  the  followmg  season.  It  was 
not  produced  in  England  until  September  26,  1899, 
when  Murray  Carson  brought  it  out  at  the  Prin- 
cess of  Wales's  (Kennington)  Theatre,  London, 
with  himself  in  the  title  role,  F.  H,  Macklin  as 
Anthony  Anderson,  and  Grace  Warner  as  Judith 
Anderson. 

Diplomacy,  a  drama  in  four  acts  adapted  by 
Clement  Scott  and  B.  C.  Stephenson  from  Sar- 
dou's  "Dora,"  was  produced  at  the  Prince  of 
Wales's  Theatre,  London,  on  January  12,  1878. 
Joseph  Knight,  the  veteran  critic  of  the  '"Athe- 
naeum," asserted  that  this  performance  of  "Diplo- 
macy" was  "as  good  as  that  which  was  seen  a  year 
ago  at  the  Vaudeville,  though  the  cast  on  the  occa- 
sion last  named  included  such  artists  as  Mile. 
Blanche  Pierson,  Madame  Alexis,  MM.  Paraed, 
Pierre  Berton,  Dieudonne,  and  Train."  The  Eng- 
lish company  was  made  up  of  the  leading  London 
players  of  the  day.  Mr.  Kendal  carried  off  the 
honors  of  the  evening  in  the  character  of  Captain 
Beaiiclerc,  and  Mrs.  Kendal  played  Dora  in  her 
most  effective  manner,  realizing  fully  the  min- 
gled humiliation  and  indignation  beneath  which  the 
wronged  wife  is  crushed.  Mr.  Beauclerc  was 
played  by  John  Clayton,  Baron  Stein  by  Arthur 
Cecil,  the  Countess  Zicka  by  Mrs.  Bancroft,  and 
the  Marquise  de  Rio  Zares  by  Miss  Lethiere. 
"Diplomacy"  was  first  played  in  this  country  on 


piapjsf  of  tljc  5f)rc^Ynt.  89 


April  I,  1878,  at  Wallack's  Theatre  in  New  York, 
with  the  following  cast : 

Henry  Bcauclcrc Lester  Wallack. 

Julian  Bcauclcrc  Henry  J.  Montague. 

Count  Orloff  Frederic  Robinson. 

Algic  Fairfax   W.  R.  Floyd. 

Baron  Stein  J.  W.  Shannon. 

Countess  Zicka Rose  Coghlan. 

Dora Maud  Granger. 

Marquise  de  Rio  Zarcs Madame  Ponisi. 

A  revival  at  the  same  house  on  March  i6,  1885, 
included  Lester  Wallack,  Rose  Coghlan,  and  Mme. 
Ponisi  in  their  original  characters,  Osmond  Tearle 
as  Julian  Beauclcrc,  Harry  Edwards  as  Baron 
Stein,  and  Annie  Robe  as  Dora.  "Diplomacy"  was 
first  brought  out  in  Boston  by  Lester  Wallack  at  the 
Park  Theatre  for  the  week  of  May  11,  1885,  and 
on  March  15  of  the  following  year  was  produced 
at  the  Boston  Museum,  A  revival  at  the  Museum 
on  October  3,  1887,  enlisted  the  services  of  Charles 
Barron  as  Henry  Beauclerc,  Edgar  L.  Davenport 
as  Julian  Beauclerc,  Alfred  Hudson  as  Baron  Stein, 
Frazer  Coulter  as  Count  Orloff,  Annie  Clarke  as 
the  Countess  Zicka,  Isabelle  Evesson  as  Dora,  and 
Mme.  Ponisi  as  the  Marquise.  When  Rose  Cogh- 
lan became  a  star,  "Diplomacy"  became  a  leading 
feature  in  her  repertory.  It  has  received  occa- 
sional revivals  both  in  England  and  America. 

The  District   Attorney,   a   drama   of   modern 
metropolitan    life   by    Harrison    Grey   Fiske    and 


90  3?^iap^  of  tl^c  5prc^cnt» 


Charles  Klein,  was  produced  at  the  American 
Theatre  in  New  York  on  January  21,  1895.  The 
cast  was : 

John  Stratton Wilton  Lackaye. 

Matthew  Braincrd   Frank  Mordaunt. 

General  Ruggles  George  Fawcett. 

Daniel  McGrath   Odell  Williams. 

Wellington  Gridley Charles  S.  Abbe. 

Frank  Pierson  Edward  J.  Morgan. 

Williams    Lawrence  Eddinger. 

Vernon  Holt W.  B.  Smith. 

Maxwell Harry  E.  Chase. 

Jamison    Alfred  Blakeley. 

Corrigan    J.  E.  Coyne. 

Watson T.  E.  Richmond. 

Grace  Braincrd  Annie  Irish. 

Helen  Knight Effie  Shannon. 

Madge  Brainerd  Adele  Ritchie. 

Elise   Emma  Stevens. 

Good  plays  of  modern  life  were  so  scarce  that 
"The  District  Attorney"  was  more  than  ordi- 
narily welcome.  The  probings  of  the  famous 
Lexow  Committee  found  in  it  their  expression  in 
dramatic  form.  Its  plot  was  sensible  and  logical, 
its  characters  were  genuine,  and  its  development 
of  political  conditions  in  a  great  city  moved  for- 
ward to  a  definite  conclusion.  Its  merit  lay  in 
the  form  of  its  expression  and  in  the  exact  man- 
ner in  which  the  dramatists  caused  every  situation 
and  every  character  to  make  for  the  completeness 
of  their  story. 

Since  its  original  production,  "The  District 
Attorney"  has  been  revived  occasionally  by  local 
stock  companies. 


pap^  of  tfjc  5f)cciGfmt  91 

Divorce,  a  comedy  by  Augustin  Daly,  was  pro- 
duced at  the  Fifth  Avenue  Theatre,  New  York,  on 
September  5,  1871,  and  ran  there  until  March  17, 
1872.    The  cast  was : 

Alfred  Adrianse D.  H.  Harkins. 

Mr.  Burritt   W.  J.  Le  ]\Ioyne. 

DcWolf  DclVitt William  Davidge. 

Templcton  Jitt  James  Lewis. 

Captain  Lyndc   Louis  James. 

Rev.  Harry  Duncan  Henry  Crisp. 

Judge  Kemp   David  Whiting. 

Mrs.  Ten  Eyck Fanny  Morant. 

Fanny  Ten  Eyck  Clara  Morris. 

Aliss  Lu  Ten  Eyck Fanny  Davenport. 

Grace  LiNda  Dietz. 

Kitty    Ida  Yearance. 

Mrs.  Kemp Mrs.  G.  H.  Gilbert. 

Flora  Penftcld Mary  Cary. 

Jim  Owen  Fawcett. 

Dr.  Lang George  F.  DeV^ere. 

Christmas  F.  Chapman. 

Pam  J.  H.  Burnett. 

Guinea  W.  Beekman. 

Molly  Nellie  Mortimer. 

Although  some  of  the  scenes  and  characters  in 
"Divorce"  were  taken  from  Anthony  Trollope's 
novel,  "He  Knew  He  was  Right,"  it  was  in  no 
wise  an  adaptation.  In  atmosphere  and  spirit,  it 
was  wholly  American.  The  acting  contributed  not 
a  little  to  its  popularity.  Mr.  Le  Moyne,  Mr. 
James,  Ivlr.  Crisp,  Miss  Yearance,  Miss  Cary,  and 
]Mr.  Fawcett  all  made  their  first  appearances  in 
Mr.  Daly's  company  in  "Divorce."  On  Washing- 
ton's Birthday,  in  1872,  Mr.  Daly  made  a  venture- 
some experiment  by  taking  his  company  over  to 


92  l?Jap^  of  tf^t  ^tc^cnt 

Philadelphia  to  act  "Divorce"  at  the  Chestnut 
Street  Theatre  in  the  afternoon,  returning  to  the 
home  theatre  in  time  for  the  regular  evening  per- 
formance. At  the  close  of  the  run  of  "Divorce," 
there  was  a  month  of  revivals,  George  H.  Griffiths 
making  his  first  appearance  as  Jesse  Rural  on 
March  19,  and  after  that  "Article  47"  was  brought 
out. 

In  the  midst  of  its  New  York  run,  Boston  play- 
goers were  enabled  to  see  "Divorce,"  which  was 
presented  at  the  Boston  Museum  for  the  first  time 
on  December  2,  1872.  It  ran  only  two  weeks  and 
four  days,  with  the  following  cast  of  favorite  Mu- 
seum players : 

Alfred  Adriansc Charles  Barron. 

Mr.  Burritt   Frank  Hardenbergh. 

DeWolf  DeWitt  Robert  F.  McClannin. 

Templeton  Jitt  William  Warren. 

Captain  Lynde   J.  Alfred  Smith. 

Rev.  Harry  Duncan Hart  Conway. 

Judge  Kemp   James  Burrows. 

Jim  ,. J.  H.  Ring. 

Pam  ' James  Nolan. 

Dr.  Lang J.  Salisbury. 

Fanny  Ten  Eyck   Annie  Clarke. 

Miss  Lu  Ten  Eyck  Fannie  Marsh. 

Mrs.  Ten  Eyck  Mrs.  J.  R.  Vincent. 

Grace  Ella  Burns. 

Flora   Fanny  Skerrett. 

Kitty    Belle  Butler. 

Molly Amy  Ames. 

Alfred   Little  Portia. 

Templeton  Jitt  was  not  one  of  Mr.  Warren's 
most  prominent  roles,  and  on  his  retirement  from 


5plnji^  of  tf^t  prcjscnt.  93 

the  famous  INIuseum  company,  his  place  in  the 
revivals  of  "Divorce"  was  taken  by  George  W. 
Wilson.  '"Divorce"  is  now  played  occasionally  by 
local  stock  companies. 

Dr.  Jekyll  and  Mr.  Hyde,  a  drama  in  four  acts 
by  T.  Russell  Sullivan  from  Robert  Louis  Steven- 
son's stor}'  of  "The  Strange  Case  of  Dr.  Jekyll 
and  Mr.  Hyde,"  was  produced  by  Richard  Mans- 
field at  the  Boston  ]\Iuseum  on  ]\Iay  lo,  1887.  Air. 
Alansfield  was  supported  by  members  of  the  Bos- 
ton Museum  stock  company,  the .  cast  being  as 
follows : 

f/r.  %'fe  }    Richard  Mansfield. 

General  Sir  Danvers  Carew Boyd  Putnam. 

Dr.  Lanyon  Alfred  Hudson. 

Gabriel  Utterson  Frazer  Coulter. 

Poole  James  Burrows. 

Inspector  Newcomen  Arthur  Falkland. 

Jarvis    J.  K.  Applebee,  Jr. 

Agnes  Carew Isabelle  Evesson. 

Mrs.  Lanyon Kate  Ryan. 

Rebecca  Moor   Emma  Sheridan. 

Both  the  play  and  Mr.  Alansfield's  acting  of  the 
dual  role  made  an  immediate  sensation,  and  it  has 
continued  in  his  repertory  down  to  the  present 
day.  On  August  4,  1888,  at  the  Lyceum  Theatre, 
in  Mr.  Sullivan's  play,  Mr.  Mansfield  made  his  first 
appearance  in  London  as  a  leading  actor,  being 
supported  by  his  own  company,  D.  H.  Harkins 
appearing  as  Dr.   Lanyon,  John  T.   Sullivan  as 


94  Pap^  of  tljc  ^te^cnu 

Gabriel  Utterson,  Miss  Emma  Sheridan  as  Re- 
becca Moor,  and  Miss  Beatrice  Cameron  as  Agnes 
Carezv.  On  the  6th  of  the  same  month,  at  the 
Opera  Comique,  a  rival  dramatic  version  of  Ste- 
venson's story,  made  by  Daniel  E.  Bandmann, 
was  produced  by  that  actor,  but  he  gained  little 
popularity,  and  the  piece  was  withdrawn  after  a 
few  performances.  He  had  previously  given  the 
same  play  in  various  American  cities,  notably  in 
New  York  at  Niblo's  Garden,  in  March,  1888,  and 
in  Boston  at  the  Boston  Theatre  the  following 
month.  Other  actors  who  have  essayed  the  dual 
role  in  various  versions  are  Theodore  Hamilton, 
Thomas  E.  Shea,  Charles  Leonard  Fletcher,  and 
Dore  Davidson. 

Don  Cesar's  Return,  a  drama  in  four  acts  by 
Victor  Mapes,  is  founded  upon  the  famous  stage 
character  Don  Ccrsar  de  Bazan,  and  was  produced 
at  the  Empire  Theatre  in  Albany  on  August  29, 
1901,  the  cast  being  as  follows : 

Carlos  I  Wilton  Lackaye. 

Don  Jose Theodore  Roberts. 

Don  Casar  de  Bazan James  K.  Hackett. 

Sangrado    Thomas  A.  Hall. 

Benuto George  Le  Soir. 

Lazarillo  Fernandu  Eliscu. 

Marquis  of  Gonzalo  William  J.  Le  Moyne. 

Pedro    William  Lamp. 

Diego Wayne  Gray. 

A  Boatman  Charles  Florence. 

A  Judge  Mervyn  Dallas. 

Second  Judge  John  E.  Mackin. 


JAMES  K.  HACKETT, 

As  Don   Caesar,  in   Don  Caesar's  Return. 


5plap^  of  ti^c  prcjscnt,  95 


Court  Officer )  tt         tt 

Captain  of  the  Guard  \     ^'^^^  Hamilton. 

Captain  of  the  Alcazars Sidney  Price. 

A  Herald  William  Post. 

Queen  of  Spain  Maude  Roosevelt. 

Marquise  de  Gonzalo  Virginia  Buchanan. 

Maritana    Florence  Kahn. 

Antonia Charlotte  Walker. 

The  New  York  engagement  of  "Don  Caesar's 
Return"  began  at  Wallack's  Theatre  on  Septem- 
ber 3,  and  the  play  was  continued  there  for  about 
three  months.  When  its  tour  began,  the  cast  had 
undergone  several  important  changes,  Brigham 
Royce  appearing  as  Carlos,  Joseph  Brennan  as 
Don  Jose,  Edward  Donnelly  as  Sangrado,  Thomas 
A.  Hall  as  the  Marquis  of  Gorwalo,  Jane  Oaker  as 
Maritana,  and  Grace  Barber  as  Antonia.  In  Feb- 
ruary, ''Don  Caesar's  Return"  was  replaced  in  Mr. 
Hackett's  repertory  by  a  dramatization  of  "The 
Crisis." 

Du  Barry,  a  drama  in  four  acts  written  by  David 
Belasco  for  the  exploitation  of  the  unique  theat- 
rical talents  of  Mrs.  Leslie  Carter,  was  produced 
at  the  National  Theatre  in  Washington  on  Decem- 
ber 12,  1901,  and  at  the  Criterion  Theatre  in  New 
York  on  December  25.  The  play  proved  itself  a 
triumph  of  stagecraft,  and  gained  an  instantaneous 
popularity.  The  important  features  of  the  cast 
were  as  follows : 

Louis  XV,  King  of  France  ....  Charles  A.  Stevenson. 
Comte  Jean  du  Barry  Campbell  Gollan. 


96  ?plap]Sf  of  tlje  5Ptc^cnt 


Comte  Guillaiime Beresford  Webb. 

Due  de  Brissac Henry  A.  Weaver,  Sr. 

Cosse-Brissac   Hamilton  Revelle. 

The  Papal  Nuncio H.  R.  Roberts. 

Due  de  Riehelieu Frederick  Perry. 

Terray C.  P.  Flockton. 

Maupeau H.  G.  Carleton. 

Due  d'Aiguillon Leonard  Cooper. 

Denys   Claude  Gillingwater. 

Lebel  Herbert  Mill  ward. 

M.  Lahille  Gilmore  Scott. 

Vauberniere Walter  Belasco. 

Scalo   J.  D.  Jones. 

Jeanette    Vauberniere    {La   du 

Barry)     Mrs.  Leslie  Carter. 

Hortense    Eleanor  Carey. 

Comtcsse  de  Marsen Edith  Van  Benthuysen. 

Sophie  Irma  Perry. 

Marquise  de  Crenay Dora  Goldthwaite. 

Madame  la  Dauphine Helen  Hale. 

Marquise  de  Quesney Blanche  Rice. 

Sophie  Arnauld  Helen  Robertson. 


"The  purpose  of  ]\Ir.  Belasco's  play,"  wrote  a 
contemporary  critic,  "seems  to  be  threefold — to 
set  upon  the  stage  pictures  of  life  at  Paris  and 
Versailles  toward  the  end  of  the  reign  of  Louis  XV, 
with  a  scene  or  two  from  the  Revolution  as  an 
epilogue;  to  make  the  central  figure  therein  Mme. 
Du  Barry,  to  characterize  the  woman,  and  to  un- 
fold in  the  process  a  dramatic  story ;  and  to  afford 
full  and  shrewdly  devised  opportunity  for  the  pow- 
ers of  Mrs.  Carter  as  an  actress.  .  .  .  The 
audience  bent  to  her  torrent  of  words,  to  her  sweep 
of  gesture,  to  the  hot  fire  of  passion  and  genuine 
power  that  burned  behind  them." 


^plapiGf  of  tfjc  ¥^rc^cnt.  97 

Elaine,  a  drama  in  four  acts  by  George  Parsons 
Lathrop  and  Harry  Edwards,  based  on  the  fa- 
miliar version  of  the  old  legendary  tale  in  Ten- 
nyson's "Idylls  of  the  King,"  was  first  given  ex- 
perimentally at  an  author's  matinee  at  the  Madi- 
son Square  Theatre,  New  York,  and  was  later 
produced  at  the  same  house  on  December  6,  1887. 
It  was  cast  as  follows  : 

King  Arthur  Charles  Overton. 

Lancelot    Alexander  Salvini. 

Lord  of  Astolat Frederic  Robinson. 

Sir  Torre  Louis  Massen. 

Sir  Lavaine   Walden  Ramsay. 

Sir  Gazi'ain E.  M.  Holland. 

Dumb  Servitor  C.  P.  Flockton. 

Queen  Guinevere  Marie  Burroughs. 

Elaine    Annie  Russell. 

Llanyd  Minnie  Seligman. 

Roselle Marie  Greenwald. 

"Elaine"  received  the  immediate  approval  of  the 
large  body  of  playgoers  to  whom  the  poetic  drama 
always  appeals,  and  it  was,  at  the  close  of  its  run, 
presented  in  other  cities  by  Mr.  Palmer's  com- 
pany. In  these  performances,  Joseph  E.  Whiting 
succeeded  jNIr.  Overton  as  King  Arthur,  Miss  May 
Brookyn  replaced  Miss  Seligman  as  Llanyd,  and 
Miss  Kate  Molony  appeared  as  Roselle. 

An  Enemy  to  the  King,  a  romantic  drama  in 
four  acts  by  Robert  N.  Stephens,  was  produced 

7 


98  pap^  of  tlje  ^rc^cnt* 

at  the  Lyceum  Theatre  in  New  York  on  Septem- 
ber I,  1896,  with  this  cast  of  characters : 

Ernanton  de  Launay E.  H.  Sothern. 

Claude  de  la  Chatre Arthur  R.  Lawrence. 

Guillaume  Montigtiac Roydon  Erlynne. 

Vicomte  de  Berquin  Morton  Selten. 

Blaise  Tripault Rowland  Buckstone. 

Gillcs  Barbcmoiiche   Daniel  Jarrett. 

Julie  de  Varion Virginia  Harned. 

Jeannotte    Jeannette  Lowrie. 

Marianne    Kate  Pattison-Selten. 

Bribri    Violet  Rand. 

Giralda   Ray  de  Barrie. 

Mr.  Stephens's  play  was  a  series  of  pictures  of 
the  France  of  the  closing  decades  of  the  sixteenth 
century,  making  a  stirring  melodrama,  with  the 
flash  of  steel,  cuts  and  passes,  and  stage  heroics, 
devised  by  a  past  master  of  the  art  of  stagecraft, 
the  whole  put  together  with  a  fair  amount  of  lit- 
erary ability  and  with  that  touch  of  the  practised 
playwright  that  always  carries  conviction.  The 
plot  was  somewhat  obscured  by  the  liberal  embel- 
lishments with  which  Mr.  Stephens  adorned  it, 
but  the  valorous  devotion  of  the  hero  and  the 
contention  of  opposing  feelings  in  the  heroine  were 
presented  forcibly,  and  the  scenes  bearing  upon 
these  two  elements  were  the  strongest  in  the  play. 
Mr.  Sothern  played  the  hero  with  an  abundance  of 
vital  manliness,  agreeably  expressed,  and,  as  he 
possessed  all  the  requisites  of  a  successful  romantic 
actor,  his  vigor  and  charm  of  personality  carried 
the  first  acts,  which  were  rather  heavy.     Later  in 


JDIap^  of  tf^t  5prci3cnt.  99 

the  piece  the  action  quickened,  and  the  play  ended 
in  a  rush  and  whirl  that  always  set  an  audience 
wild  with  delight. 

Grace  Kimball  had  been  originally  engaged  to 
create  the  heroine,  but  she  was  taken  ill  a  few  days 
before  the  season  opened,  and  Miss  Hanied  played 
the  part.  Later  in  the  season  Mary  Hampton  was 
seen  as  Julie,  with  Rebecca  Warren  as  Jeannotte, 
and  Alberta  Gallatin  as  Giralda.  The  original 
cast  was  curiously  uneven,  some  of  the  parts  being 
given  in  a  weak,  amateurish  manner  that  proved 
far  more  amusing  than  effective. 

The  play  was  mounted  in  a  gorgeous  style  that 
was  well  in  keeping  with  its  romanticism,  the  set- 
tings being  amazingly  realistic  and  beautiful,  while 
costumes  and  properties  were  all  in  keeping  with 
the  artistic  surroundings.  It  was  reported  that 
Mr.  Sothern  himself  supervised  the  production, 
which  certainly  proved  that  his  ability  as  a  stage 
director  rivaled  his  merit  as  an  actor.  When 
the  star  had  given  his  new  piece  throughout 
the  country,  it  passed  into  the  hands  of  the 
stock  companies,  and  as  presented  by  them  had 
a  new  lease  of  life  that  still  keeps  it  before  the 
public. 

Eugene  Aram,  a  drama  in  three  acts,  partly  in 
blank  verse,  founded  by  William  Gorman  Wills 
upon  the  life  of  that  famous  character,  was  pro- 
duced at  the  Lyceum  Theatre  in  London  on  April 


lOO 


papj0foft{jc  J)rcj8fmt 


^9>  1873.     It  was  originally  called  "The  Fate  of 
Eugene  Aram,"     The  cast  was : 

Eugene  Aram  Henry  Irving. 

Parson  Meadozvs   W.  H.  Stephens. 

Richard  Houseman    E.  F.  Edgar. 

Jowell  F.  W.  Irish. 

Joey  Miss  Willa  Brown, 

Ruth  Meadows   Isabel  Bateman. 

For  over  a  century  literary  men  have  been 
tempted  by  the  picturesque  career  of  the  unfor- 
tunate Eugene  Aram.  Walter  Scott  and  William 
Godwin,  as  well  as  many  other  writers,  projected, 
although  they  never  accomplished,  romances  bear- 
ing upon  his  life ;  Thomas  Hood  dealt  with  him  in 
one  of  his  serious  poems ;  and  Bulwer,  in  addition 
to  his  well-known  novel,  actually  completed  two 
acts  of  a  poetic  tragedy  to  be  called  "Eugene 
Aram."  As  early  as  1831  there  was  produced  a 
dramatic  version  of  Bulwer's  work,  and  there  have 
been  other  plays  drawn  from  the  same  source.  Mr. 
Irving  made  no  mistake  in  accepting  Mr.  Wills's 
play,  and  his  interpretation  of  its  title  character 
has  proved  one  of  the  most  noteworthy  achieve- 
ments of  his  career.  After  Ellen  Terry  joined  Mr, 
Irving's  company,  she  played  Ruth  Meadows 
whenever  "Eugene  Aram"  was  revived. 

During  Mr.  Irving's  first  tour  of  America,  which 
began  at  the  Star  Theatre,  New  York,  on  Octo- 
ber 29,  1883,  "Eugene  Aram"  was  not  given.  On 
his  second  tour,  however,  he  played  Mr.  Wills's 


piapsf  of  tf)c  ^rcsfcnt. 


lOI 


drama  for  the  first  time  in  this  country  at  the  Co- 
lumbia Theatre,  Chicago,  on  January  19,  1885, 
and  it  was  subsequently  presented  in  New  York 
and  other  American  cities.  The  cast  included  J\Ir. 
Irving  in  the  title  role,  Miss  Terry  as  Ruth  Mead- 
oivs,  Henry  Howe  as  Parson  Meadows,  T.  N. 
Wenman  as  Richard  Houseman,  Samuel  Johnson 
as  Jowell,  and  E.  G.  Craig  (Miss  Terry's  son) 
as  Joey. 

Evangeline,  a  burlesque  in  three  acts,  the  text  by 
J.  Cheever  Goodwin,  the  music  by  Edward  E.  Rice, 
was  produced  at  Niblo's  Garden  in  New  York  on 
July  2y,  1874.    The  cast  was : 

Evangeline   Tone  Burke. 

Eidalie  May  Arlington. 

Catherine    Louis  J.  Mestayer. 

The  Queen  May  Vernon. 

Gabriel Connie  Thompson.. 

LeBlanc William  H.  Crane. 

Basil James  C.  Dunn. 

Fclician  C.  A.  Mackintosh. 

Michael   W.  B.  Cahill. 

Captain  Dietrich William  Scallan. 

King  Borrioboolah  Gha  Edward  S.  Tarr. 

The  Policeman  James  Martin. 

Hans  Wagner  Charles  Rosene, 

The  Lone  Fisherman Jacob  W.  Thoman. 

"Evangeline"  may  well  claim  to  be  the  most 
popular  burlesque  of  this  generation.  Mr.  Rice 
and  Mr.  Goodwin  wrote  their  play  on  the  best 
models  of  the  English  burlesque,  such  as  Planche 
and    Brough    had    given    to    London    playgoers. 

7* 


102 


Pap^  of  tl)c  5Drc^ciit» 


There  was  a  certain  connected  story,  the  play  hung 
together  m  some  sort,  and,  as  originally  produced, 
"Evangeline"  was  in  form  equal  to  Brougham's 
"Pocahontas."  The  great  creation  of  the  piece 
was  the  Lone  Fisherman,  a  part  originally  played 
by  Mr.  Thoman,  for  years  favorably  known  in 
Boston  from  his  connection  with  the  Boston  Mu- 
seum. The  part  was  given  the  second  season  to 
James  S.  Malhtt,  the  pantomimist,  who  made  it 
one  long  to  be  remembered.  As  originally  written, 
the  Fisherman  had  a  speech  at  the  end  of  the  last 
act,  when,  as  he  burned  the  will,  he  announced 
himself  as  the  evil  genius  of  the  play,  but  this 
speech  was  cut  out  later,  and  lovers  of  pantomime 
will  always  recall  Mr.  Maffitt's  work  in  this  piece 
as  the  best  that  he  did  in  his  long  career  and  as 
the  best  ever  seen  in  the  part. 

In  the  original  production,  Mr.  Crane  was  se- 
lected by  Mr.  Rice  to  create  LeBlanc,  as  a  good 
comedian  was  wanted  for  the  part,  and  Mr.  Crane 
was  considered  one  of  the  most  promising  to  be 
found  in  New  York.  Mr.  Tarr,  who  played  the 
King,  was  long  identified  with  the  burlesque,  act- 
ing several  parts  in  it  and  being  billed  as  Edward 
S.  Tarr,  E.  S.  Tarr,  E.  Starr,  and  in  various  other 
ways  diversifying  his  name.  Mr.  Rosene,  the 
Hans  Wagner,  was  another  actor  who  became 
known  through  this  play.  Like  Mr.  Tarr,  he  was 
a  useful  member  of  the  company,  and  after  play- 
ing Wagner  under  the  name  of  Rosene,  he  would 


piapisf  of  tljc  ^rc.0'cnt  103 

appear  as  "The  Jailer,  Mr.  R.  C.  Osiiie."  There 
were  several  others  who  in  their  time  played  many 
parts  in  the  merry  burlesque,  notably  Henry  E. 
Dixey.  The  business  of  the  piece  was  somewhat 
different  at  first  from  what  it  is  to-day,  and  when 
Boston  first  saw  "Evangeline"  at  the  Globe  Theatre 
on  June  7,  1875,  INIr.  Dixey  was  one  of  the  two  sail- 
ors who  were  hidden  in  the  heifer,  giving  him  an 
opportunity  to  show  his  skill  as  a  dancer.  Among 
others  who  were  in  the  first  Boston  cast  who  had 
not  appeared  in  New  York  were  Laura  Joyce,  Eva 
Brent,  Harry  Beckett,  Ella  Morant,  Dan  J.  Ma- 
guinnis,  Harry  S.  Alurdoch,  Edmund  K.  Collier, 
and  Herbert  A.  Cripps.  Mr.  Murdoch,  excepting 
N.  C.  Goodwin  the  best  Captain  Dietrich  ever 
seen,  later  perished  in  the  Brooklyn  Theatre  fire; 
Mr.  Collier,  who  played  the  Indian,  tried  tragedy 
and  was  not  unsuccessful;  while  Mr.  Beckett,  a 
comedian  who  had  made  a  name  with  Lydia 
Thompson,  2.  Bob  Acres  to  be  long  remembered, 
was  an  effective  LcBlanc.  Mr.  Maguinnis,  the 
Irish  comedian,  played  Michael  the  tiddler,  a  part 
that  was  afterward  eliminated. 

While  all  parts  of  the  country  had  opportunities 
to  see  the  successful  burlesque,  it  may  be  counted 
as  a  Boston  institution,  for  its  production  at  the 
Museum  in  that  city  on  July  10,  1876,  its  first 
season  at  the  Globe  Theatre  there  not  having  been 
especially  remunerative,  marks  the  real  beginning 
of  its  great  popularity.    At  that  time  the  principal 


104  S>iap^  of  tf^t  ^tc^cnt 

players  in  the  cast  were  thus  distributed:  Evan- 
geline, Lillian  Conway ;  Catherine,  Harry  Josephs ; 
The  Queen,  Rose  Temple;  Gabriel,  Eliza  Wea- 
thersby;  LeBlanc,  W.  H.  Crane;  Captain  Dietrich, 
N.  C.  Goodwin,  then  billed  as  "Jr.";  The  King, 
James  H.  Jones.  Of  course  the  indefatigable  Mr. 
Rosene  had  several  parts,  and  Mr.  Jones  also  dou- 
bled. The  season  was  helped  out  by  novelties  from 
time  to  time.  Mr.  Goodwin  gave  his  imitations 
in  "Dick  Alias,"  Mr.  Murdoch  replaced  Mr.  Good- 
win and  gave  imitations  in  'The  Widow's  Vic- 
tim," and,  at  Mr.  Crane's  complimentary  benefit, 
the  beneficiary  sang  'The  Old  Sexton,"  while  at  a 
benefit  to  the  authors,  J.  Cheever  Goodwin  played 
three  different  parts.  After  that,  every  year,  for 
several  years,  it  was  given  week  after  week  in 
Boston  to  paying  houses.  It  was  very  elastic ;  new 
characters  were  added,  old  ones  were  dropped,  but 
the  public  flocked  to  see  it,  and  it  made  the  reputa- 
tion of  many  a  player. 

The  Exiles,  a  melodrama  in  six  acts  by  Vic- 
torien  Sardou,  assisted  by  Eugene  Nus  and  Prince 
Lubomirsky,  was  produced  in  English  in  this  coun- 
try at  the  Boston  Theatre  in  Boston  on  December 
lo,  1877,  with  a  cast  of  twenty-two  speaking  char- 
acters, the  principal  being  the  following: 

Schelm L.  R.  Shewell. 

Max  de  Lussieres  Louis  James. 

Count  Wladimir  Lanine Ed.  J.  Buckley. 


^\a0  of  tf)c  ^present  105 

Colonel  Ealkine  Mark  M.  Price. 

Carcassin D.  J.  Maguinnis. 

Nicholas  Popoff  C.  Leslie  Allen. 

Mile.  Nadege  Laninc  Marie  Wainwright. 

Countess  Tatiana  Laninc Mrs.  T.  M.  Hunter. 

"The  Exiles"  was  in  its  second  season  at  the 
Porte  St.  Alartin  Theatre  in  Paris,  where  it  was 
first  brought  out,  when  the  managers  of  the  Bos- 
ton Theatre  had  an  adaptation  made  by  L.  R. 
Shewell,  who  followed  closely  the  original,  and 
produced  it  in  fine  style  at  the  largest  playhouse 
in  America.  At  that  time  Sardou  was  perhaps 
the  first  playwright  in  France,  and  to  his  wonder- 
ful dramatic  power,  which  was  enlisted  in  framing 
and  finishing  the  work,  were  added  the  efforts  of 
Nus  and  Lubomirsky,  themselves  dramatists  of  no 
mean  ability,  who  filled  out  the  piece  with  popular 
effects  and  details.  There  were  many  things  in 
the  drama  to  make  it  effective,  the  continual  suc- 
cession of  exciting  situations  being  supplemented 
with   beautiful   scenery   and   realistic   accessories. 

The  reindeer  and  dog  teams,  the  conflagration 
in  the  governor's  house,  the  battle  raging  in  and 
about  the  ferryman's  hut  on  the  Angora,  the  beauty 
of  the  scenes  representing  the  Square  of  Sher- 
bakoff  at  night, — with  the  city,  illuminated  by  its 
myriad  lights,  in  the  distance, — Prince  Pierre's 
palace,  and  the  Cross  Road  of  the  Stone  Pillar 
were  all  calculated  to  interest  and  entertain  the 
most  hardened  playgoer.  The  story  of  the  play 
is  romantic  and  exciting,  and  appeals  with  resist- 


io6  PapjB?  of  tftc  ^tcjsfcnt, 

less  power  to  one's  sympathies,  so  that,  acted,  as 
it  was,  by  one  of  the  best  theatrical  companies 
ever  gathered  in  this  country,  it  made  a  success 
that  was  truly  described  as  phenomenal. 

Since  its  original  production  in  this  country,  the 
play  has  not  only  been  frequently  repeated  in  Bos- 
ton, but  has  been  well  received  in  other  cities. 
Among  players  who  have  won  some  distinction  in 
it  may  be  mentioned  Henry  Aveling,  Nestor  Len- 
non,  W.  S.  Harkins,  and  Adele  Belgarde. 

Fanchon,  a  drama  adapted  by  August  Waldauer 
from  a  German  play  "Die  Grille,"  which  in  turn 
was  taken  from  George  Sand's  "La  Petite  Fa- 
dette,"  was  produced  at  the  St.  Charles  Theatre 
in  New  Orleans  in  i860.    The  cast  was  as  follows: 

Fanchon  Maggie  Mitchell. 

Landry  Charles  R.  Pope. 

Didier  Alvan  A.  Reed. 

Father  Barbeau  R.  F.  McClannin. 

Father  Cayard  T.  J.  Hind. 

Etienne W.  J.  Leonard. 

Pierre  John  Daily. 

Martineau   Harry  Melmer. 

Colin Con  T.  Murphy. 

Madelon Mary  Maddern. 

Susette  Emma  Maddern. 

Mother  Fadet   Mrs.  Knight. 

Mother  Barbeau "      McManus. 

August  Waldauer,  the  adapter  of  the  play,  was 
then  the  leader  of  the  orchestra  at  the  St.  Charles 
Theatre,  and  the  prompter  was  Thomas  Davey, 
the  father  of  Minnie  Maddern  Fiske.     Miss  Mit- 


MAGGIE  MITCHELL. 

As   Fanchoii. 


piap^ef  of  tjjc  S^rc^cut.  107 

chell  became  so  popular  in  "Fanchon"  that  the  play 
remained  a  leading  feature  of  her  repertory  for 
more  than  a  quarter  of  a  century.  The  outbreak 
of  the  Civil  War  interfering  with  her  Southern 
tour,  she  came  North  and  brought  out  "Fanchon" 
at  the  Boston  Museum  with  a  notable  cast  which 
included  William  Warren,  W.  H.  Whalley,  Mrs. 
Vincent,  and  Jennie  Anderson.  Returning  to 
New  York,  she  began  her  engagement  there  at 
the  New  Olympic  Theatre,  formerly  Laura 
Keene's,  on  June  9,  1862,  presenting  "Fanchon" 
for  the  first  time  in  that  city.  The  cast  included 
A.  H.  Davenport  as  Didier,  J.  H.  Stoddart  as 
Father  Barheau,  James  W.  Collier  as  Landry,  and 
Mrs.  Stoddart  as  Madelon. 

For  years  "Fanchon"  remained  the  exclusive 
property  of  Maggie  Mitchell,  but  after  her  retire- 
ment other  actresses  attempted  the  character, 
among  them  being  Katherine  Rober  and  Gladys 
Wallis. 

Featherbrain,  a  farcical  comedy  in  three  acts 
adapted  from  the  French  by  James  Albery,  was 
produced  at  the  Criterion  Theatre  in  London  on 
June  23,  1884,  with  this  cast: 

Samuel  Coney  W.  Mackintosh. 

Valentine  Day  George  Giddens,  . 

Ferdinand  Pettigrew W.  Blakeley. 

Don  Stephana  Ruy  Gomaz C.  D.  Marius. 

Tipper    H.  Saker. 

Mrs.  Coney Marie  Jansen. 


io8  ^^0,^^  of  tljc  5^tc^cnt 


Mrs.  Pettigrew  Rose  Saker. 

Miss  Eurydice  Mole  Isabelle  Evesson. 

Nelly    Annie  Rose. 

Gimp    Rose  Norreys. 

Mary  Ann    E.  Vining. 

The  original  of  "Featherbrain"  was  a  bright 
piece  called  "La  Tete  de  Linotte,"  by  Theodore 
Barriere  and  Edmund  Gondinet,  and  was  origi- 
nally brought  out  on  September  ii,  1882,  at  the 
Vaudeville  Theatre,  Paris.  It  was  put  on  to  fill 
the  time  before  the  production  of  Sardou's  "Fe- 
dora" at  that  playhouse,  and  meeting  with  great 
success,  Charles  Wyndham  secured  the  rights  for 
England,  and  engaged  Mr.  Albery  to  work  it  over 
for  the  English  stage.  The  task  was  performed 
so  well  that  his  piece  was  in  every  respect  as  funny 
as  the  original. 

The  Criterion  company  did  full  justice  to  the 
new  play,  and  the  result  was  a  success  as  great  as 
had  greeted  it  in  France.  In  the  cast  were  several 
of  London's  favorite  players,  while  two  of  the 
leading  actresses  were  Americans — Marie  Jansen, 
who  scored  a  success  as  the  heroine,  and  Isabelle 
Evesson. 

It  was  not  long  before  "Featherbrain"  was 
brought  out  on  this  side  of  the  water.  Boston 
playgoers  first  saw  it  at  the  Museum  on  September 
21,  1885,  and  it  was  given  a  notable  production 
in  New  York  in  May,  1889,  when  the  cast  included 
such  players  as  Minnie  Maddern  and  Wilton 
Lackaye. 


5DIap.£f  of  tfjc  3prcsfnit»  109 

Fedora,  a  drama  in  four  acts  adapted  from  the 
French  of  Victorien  Sardou  by  Herman  C.  Meri- 
vale,  was  produced  at  the  Haymarket  Theatre  in 
London  on  May  5,  1883,    The  cast  was  as  follows  : 

Loris  Ipanoff   Charles  Coghlan. 

Jean  de  Siricx  Squire  B.  Bancroft. 

Pierre  Boroff   Mr.  Carne. 

M.  Ronvel  "     Smedley. 

M.  V cruet   H.  Fitzpatrick. 

Dr.  Loreck    Mr.  Elliot. 

Gretch  C.  Brookfield. 

Boleslas  Lasinski Mr.  Francis. 

Tchileff  F.  Everill. 

Desire    Mr.  Gerrard. 

Dmitri  Julia.  Gwynne. 

Kirill  Stewart  Dawson. 

Ivan  Mr.  Vernon. 

Princess  Fedora  Romazoff Mrs.  Bernard-Beere. 

Countess  Olga  Sotikareff  "      Bancroft. 

Baroness  Ockar  Miss  Herbert. 

Madame  de  Tournis "      Merrill. 

Marka  "      R.  Taylor. 

When  Sardou's  play  was  brought  out  with  Bern- 
hardt in  Paris  in  the  winter  of  1882,  it  made  such 
a  marvelous  success  that  the  English  managers 
immediately  began  to  wonder  if  it  "would  do"  for 
an  English  audience.  Mr.  Bancroft,  then  manag- 
ing the  Haymarket  Theatre,  went  to  Paris  with 
Mrs.  Bancroft,  saw  the  piece,  secured  the  acting 
rights,  and  returned  home  with  his  prize. 

Sardou's  manuscript  was  given  to  Mr.  Merivale, 
who  was  asked  to  make  the  English  version.  The 
dramatist  was  not  especially  interested,  but  agreed 
to  take  the  book  home  and  see  what  he  thought 


1 1  o  S^lap^  of  tfjc  $)rc^cnt» 

of  it.  He  put  off  looking  at  the  play  till  late  at 
night,  when,  after  glancing  over  a  few  pages,  he 
became  so  absorbed  in  its  story  that  he  found  it 
impossible  to  go  to  bed  until  the  last  speech  of 
the  drama  had  been  read ;  and  when  he  set  to  work 
on  the  translation  it  was  soon  finished,  so  inter- 
ested had  he  become  in  the  piece.  His  version 
proved  an  admirable  one,  although,  as  Mrs.  Ban- 
croft was  not  to  play  the  principal  character,  her 
part  of  the  Countess  Olga  Soiikareff  was  built  up 
for  her,  and,  revised,  corrected,  and  amended  to 
suit  British  tastes,  was  probably  the  greatest  de- 
parture from  the  original  of  any  personage  in 
the  play,  Mrs.  Bernard-Beere  was  especially  en- 
gaged to  play  the  name-part. 

The  success  of  "Fedora"  was  simply  phenome- 
nal. On  the  first  night  the  critical  portion  of  the 
audience  was  taken  completely  by  surprise  at  the 
excellent  impersonation  of  the  heroine  by  Mrs. 
Bernard-Beere,  which  really  proved  to  be  the  mak- 
ing of  the  play. 

The  same  year  Fanny  Davenport  brought  out 
in  this  country  the  version  of  the  play  that  had 
been  made  for  her,  and  proved  so  successful  in 
the  part  of  the  heroine  that  "Fedora"  remained 
in  her  repertory  during  her  career.  Miss  Daven- 
port had  the  support  of  Robert  B.  Mantell  as 
Loris  Ipanoif  for  several  seasons ;  later  Melbourne 
MacDowell  was  seen  in  the  part,  and  continued  to 
play  it  whenever  she  gave  the  drama. 


^Iap0  of  t^t  ptc0c\\t 


in 


The  First  Born,  a  play  in  one  act  by  Francis 
Powers,  was  produced  in  San  Francisco  at  the  Al- 
cazar Theatre  on  May  3,  1897,  and  on  October 
5,  1897,  was  brought  out  at  the  Manhattan  Theatre 
in  New  York,  the  casts  being  the  same : 

Locy  Tsing May  Buckley. 

Clio  Pozv Nellie  Cummins. 

Clian  Lee  Carrie  E.  Powers. 

Dr.  Pow  Lcn  George  Osbourne. 

Man  Low  Yck   Charles  Bryant. 

Chan  Wang  Francis  Powers. 

Hop  Kce  J.  H.  Benrimo. 

Chum  Woe Harry  Spear. 

Kzi'akee  John  Armstrong. 

Duck  Low  George  Fullerton. 

Sum  Chow  Harry  Levian. 

A  Chinese  Ragpicker  Walter  Belasco. 

A  Provision  Dealer Fong  Get. 

Chan  Toy  Venie  Wells. 

Way  Get  Joseph  Silverstone. 

The  piece  was  a  Chinese  play  in  the  truest  sense 
of  the  word,  for  not  only  was  the  plot  developed 
from  an  essentially  Chinese  motive — the  theft  and 
death  of  a  first-born  child  and  the  father's  ven- 
geance— ^but  the  realistic  and  artistic  manner  in 
which  it  was  presented,  with  a  proper  attention  to 
Oriental  effect,  did  much  to  insure  its  success  in  the 
East  with  a  class  of  theatre-goers  who  could  have 
no  means  of  knowing  whether  or  not  its  pictures 
were  true  to  life.  It  was  rather  a  bold  undertak- 
ing to  bring  to  New  York  from  San  Francisco  the 
entire  cast  and  production  even  of  a  play  which 
had  created  such  a  profound  sensation  in  the  latter 


112 


^lap^ef  of  tfjc  ^tt^cnt 


city,  but  the  little  tragedy  proved  as  thrilling  to 
the  playgoers  of  the  Atlantic  as  the  Pacific  coast. 
In  dramatic  intensity,  Mr.  Powers's  play  was  one 
of  the  most  remarkable  ever  seen  on  the  stage,  and 
artistically  its  success  was  complete. 

Miss  Buckley  played  the  slave  girl  Loey  Tsing 
with  much  grace  and  delicacy,  Mr.  Osbourne  was 
excellent  as  a  pedantic  physician,  the  author  him- 
self gave  a  fine  performance  of  Chan  Wang,  and 
Mr.  Benrimo,  who  really  carried  the  burden  of  the 
story  on  his  shoulders  as  the  pipe-mender,  proved 
a  conscientious  and  painstaking  artist.  When  the 
play  later  fell  into  the  hands  of  the  stock  compa- 
nies this  part  of  the  pipe-mender  was  played  at 
the  Castle  Square  Theatre  in  Boston  by  Horace 
Lewis,  who  made  a  distinct  success  in  the  role. 
Miss  Buckley  had  portrayed  the  slave  girl  so  well 
that  she  was  engaged  by  various  stock  companies 
to  repeat  her  impersonation. 

The  Forest  Lovers,  a  dramatization  of  Maurice 
Hewlett's  novel  of  the  same  name,  was  produced 
at  the  Lyceum  Theatre,  New  York,  on  September 
lo,  1901,  Miss  Bertha  Galland  then  making  her 
debut  as  a  star.  The  original  stage  version  was 
made  by  Miss  Clo  Graves  in  five  acts  and  ten  tab- 
leaux, but  before  production  it  was  rearranged  and 
condensed  by  Albert  Edward  Lancaster  into  five 
acts  and  five  tableaux,  the  preparation  for  the  stage 


J^ 


BERTHA  GALLAND, 

As   Iseult,   in    Forest   Lovers. 


piapjBf  of  tfjc  5prc^cnt.  1 1 3 

being  made  under  the  direction  of  William  Sey- 
mour.   The  cast  was  as  follows : 

Prosper  Lc  Gai  Harry  B.  Stanford. 

Dom  Galors  de  Born George  W.  Barbier. 

Baron  Blountford  Stephen  Wright. 

Master  Beinbo   Frank  C.  Bangs. 

Vincent  Mortimer  Weldon. 

Father  Bonnacord  James  Otley. 

Matt  0'  the  Moor L.  F.  Morrison. 

Wolf  tooth    Rachel  Crown. 

Rogerson    Richard  Cochrane. 

Isoult  Bertha  Galland. 

Manlfry    Rhoda  Cameron. 

Lady  Isabel  Margaret  Bourne. 

The  Abbess  of  Grace-Dieu Blanche  Weaver. 

Sister  Angela  Carrie  Thatcher. 

After  a  brief  run  at  the  Lyceum  Theatre,  'The 
Forest  Lovers"  was  played  in  Baltimore,  Washing- 
ton, and  Boston,  closing  its  season  in  the  last- 
named  city  on  December  22,  1901. 

Forget  Me  Not,  a  drama  in  four  acts  by  Her- 
man Merivale,  was  produced  at  the  Lyceum  Thea- 
tre, London,  on  August  22,  1879,  with  Genevieve 
Ward  in  the  character  of  Stephanie  de  Mohrivart. 
In  September,  Miss  Ward  was  obliged  to  leave  the 
Lyceum  Theatre  on  the  return  of  Henry  Irving 
and  his  company,  and  to  make  a  tour  of  the  Eng- 
lish provinces  in  Mr.  Merivale's  play.  It  became 
popular,  and  on  February  22,  1880,  reopened  at 
the  Prince  of  Wales's  Theatre  in  Tottenham  Court 
Road,  where  it  ran  until  the  24th  of  July.  On 
8 


1 14  1f>Iap^  of  t^t  ^cc^cnt* 

the  25th  of  September  she  returned  to  the  same 
theatre,  and  presented  "Forget  Me  Not,"  with  the 
role  of  Rose  cut  out.  Mr.  Merivale  objected,  and 
a  lawsuit  followed  by  which  he  sought  to  enjoin 
the  presentation  of  his  play  in  its  mutilated  condi- 
tion. As  Miss  Ward  had  secured  the  sole  rights 
to  the  presentation  of  the  play,  Mr.  Merivale  lost 
his  case.  Further  trouble  arose  when  Miss  Ward 
reached  this  country  and  found  that  she  had  been 
forestalled  by  an  American  production  of  "Forget 
Me  Not,"  which  had  been  presented  at  Wallack's 
Theatre,  New  York,  on  December  18,  1880.  The 
cast  was: 

Sir  Horace  Welby  Osmond  Tearle. 

Prince  Malleotti  Harry  Edwards. 

Barrato    Gerald  Eyre. 

Roberts    Harry  J.  Holliday. 

Mrs.  Foley  Madame  Ponisi. 

Alice  Verney  Stella  Boniface. 

Rose   Agnes  Elliott. 

Stephanie    Rose  Coghlan. 

Miss  Ward  immediately  entered  suit  for  an  in- 
junction, and,  winning  her  case,  "Forget  Me  Not" 
was  withdrawn  from  the  stage  of  Wallack's  Thea- 
tre on  January  13,  1881.  The  entire  controversy 
is  reviewed  at  length,  with  reprints  of  the  legal 
documents,  in  "Genevieve  Ward :  A  Biographical 
Sketch,"  by  Zadel  Barnes  Gustafson.  Miss  Ward 
presented  "Forget  Me  Not"  at  the  Fifth  Avenue 
Theatre,  New  York,  on  March  14,  1881,  the  cast 
including  Frank  Edwards,   Cora  Tanner,   Laura 


^lap^  of  rtjc  J^rciGfcnt* 


115 


LeClaire,  Charles  Dade,  and  Horace  Lewis.  It 
was  again  presented  for  a  week  under  Henry  E. 
Abbey's  management  at  Wallack's  Theatre,  and  in 
1891  and  1894  was  revived  by  Miss  Coghlan  for 
her  starring  tours. 


*t> 


Francesca  da  Rimini,  a  drama  in  blank  verse 
by  George  Henry  Boker,  was  produced  at  the  old 
Broadway  Theatre,  New  York,  on  September  26, 
1855.  At  that  time  Mr.  Boker  was  rapidly  gain- 
ing eminence  as  poet  and  dramatic  author,  and  he 
still  remains  one  of  the  few  American  authors 
who  have  been  able  to  mingle  the  poetic  with  the 
dramatic  art.  The  cast  of  his  "Francesca  da  Ri- 
mini" was  as  follows : 

Lanciotto  Edward  L.  Davenport. 

Pepe   Charles  Fisher. 

Francesca    Madame  Ponisi. 

Paolo    J.  W.  Lanergan. 

Malatcsta    David  Whiting. 

Ritta   Miss  Manners. 

In  Mr.  Boker's  version  the  familiar  tale  is  told 
as  follows :  Malatesta,  the  lord  of  Rimini,  has  two 
sons,  Lanciotto,  who  is  deformed,  and  Paolo,  who 
is  very  handsome.  Francesca,  daughter  of  Guido 
da  Polenta,  Lord  of  Ravenna,  is  promised  in  mar- 
riage to  Lanciotto,  but  Paolo  is  sent  to  escort  her 
to  Rimini.  Her  father,  fearful  that  she  may  reject 
the  alliance  with  the  ugly  Lanciotto  if  she  pre- 
maturely sees  him,  casually  deceives  her  into  the 
fatal  belief  that  the  proposed  husband  is  he  who 


1 1 6  plup^  of  tfjc  ^rcjef cnt» 

comes  as  envoy  merely — the  handsome  Paolo, 
whose  beauty  has  already  attracted  her,  and  who 
already  loves  her.  The  journey  to  Rimini  is 
made,  and  at  the  sight  of  Lanciotto,  Francesca 
exhibits  aversion,  but  for  the  sake  of  Ravenna  she 
determines  to  keep  her  promise  and  marry  him. 
At  the  altar  he  clearly  perceives  her  antipathy,  and 
upon  announcement  of  a  Ghibelline  revolt  he 
dashes  away  in  a  paroxysm  of  fury.  Paolo  and 
Francesca  remain  together,  and  their  secret  be- 
comes known  to  a  court  fool,  Pepe  by  name,  who 
hates  them  all.  By  him  they  are  betrayed  to  Lan- 
ciotto at  the  camp.  He  first  smites  the  malignant 
Pepe  dead  at  his  feet,  and  then  kills  both  his  wife 
and  brother.  His  own  death  by  the  swords  of  the 
successful  Ghibellines  instantly  follows  and  ends 
the  tragedy. 

In  1856  the  tragedy  was  published,  and  now 
forms  one  of  the  most  notable  works  in  Ameri- 
can dramatic  literature.  It  was  revived  at  rare 
intervals,  and  on  September  14,  1882,  was  brought 
out  again  by  Lawrence  Barrett  in  Philadelphia. 
Mr.  Barrett's  revival  was  elaborately  staged,  and 
his  interpretation  of  the  hunchback  Lanciotto  was 
universally  commended  for  its  impressiveness  and 
variety.  "Francesca  da  Rimini"  remained  in  his 
repertory  several  seasons,  and  he  was  supported 
at  various  times  by  Louis  James  as  Pepe,  F.  C. 
Mosley  and  Otis  Skinner  as  Paolo,  and  Marie 
Wainwright  as  Francesca. 


^\a^0  of  t j)c  Jprc.sfcnt*  1 1 7 

Frank  C.  Bangs  revived  the  tragedy  some  ten 
years  ago,  with  himself  as  Lanciotto  and  Miss 
Plelen  Leigh  as  Franc esca.  In  1893  Frederick 
Warde  appeared  as  Lanciotto,  Louis  James  as 
Pepe,  Charles  D.  Herman  as  Paolo,  and  Miss 
Edythe  Chapman  as  Franccsca;  and  in  the  season 
of  1901-1902  Otis  Skinner  made  a  successful  re- 
vival, with  himself  as  Lanciotto,  Aubrey  Boucicault 
as  Paolo,  and  Marcia  van  Dresser  as  Franc  esca. 

Frou  Frou,  a  comedy  in  four  acts  by  Henri  Meil- 
hac  and  Ludovic  Halevy,  performed  for  the  first 
time  in  Paris  in  1869,  was  produced  in  an  English 
version  by  Augustin  Daly  at  the  Fifth  Avenue 
Theatre,  New  York,  on  February  15,  1870.  The 
cast  was : 

Henry  Sartorys  George  Clarke. 

Brigard   William  Davidre. 

Comte  de  Valreas  George  Parks. 

Baron  de  Cambri James  Lev/is. 

Pitoti    G.  F.  De  Vere. 

Vincent  George  Jordan,  Jr. 

Zanetto    W.  Beekman, 

Gilberte   Agnes  Ethel. 

Louise   Kate  Newton. 

Baronne  de  Cambri Mrs.  G.  H.  Gilbert. 

Pauline   Fanny  Davenport. 

The  Governess  Emilie  Kiehl. 

Angelique  Amy  Ames. 

Georgie   Gertrude  Norwood. 

Unlike  most  of  Augustin  Daly's  plays  adapted 
from  the  French  and  the  German,  the  English 
version  of  "Frou  Frou"  closely  resembles  its  origi- 

8* 


1 1 8  Papi^  of  t  j)c  f^rcjsfcnt. 

nal,  and  therefore  lacks  little  of  its  inherent  power 
and  dramatic  force.  During  the  past  thirty  years 
it  has  been  played  in  many  countries  and  in  many 
languages,  and  is  even  now  among  the  living  plays 
of  the  present  century.  Immediately  upon  its 
New  York  production  by  Mr,  Daly's  company, 
it  attracted  the  attention  of  Boston  managers,  and 
there  was  an  exciting  contest  between  the  man- 
agement of  Selwyn's  Theatre  and  the  Boston 
Museum  as  to  which  should  produce  it  first.  It 
was  announced  for  March  7,  1870,  at  Selwyn's, 
but  the  Museum  stole  a  march  upon  its  rival,  and 
shelving  "The  Angel  of  Midnight,"  brought  out 
a  version  of  "Frou  Frou,"  prepared  by  Fred  Wil- 
liams, on  February  28,  1870,  Miss  Annie  Clarke 
was  at  once  distinctly  successful  in  the  title  char- 
acter, and  the  cast  included  Charles  Barron,  Wil- 
liam Warren,  Frank  Hardenbergh,  R,  F,  McClan- 
nin,  J,  H.  Ring,  Mrs,  J,  R.  Vincent,  Miss  Ada 
Oilman,  Miss  Fanny  Marsh,  and  Miss  Mary  Sher- 
lock, At  Selwyn's  Theatre,  Mrs,  Thomas  Barry 
played  Gilbert e,  and  she  was  supported  by  William 
J.  Le  Moyne,  Frederic  Robinson,  McKee  Rankin, 
G.  H.  Griffiths,  J,  B,  Bradford,  Miss  Virginia 
Buchanan,  Miss  Mary  Wells,  and  Mrs,  T.  M. 
Hunter. 

Other  representatives  of  "Frou  Frou"  have  been 
Sarah  Bernhardt,  Gabrielle  Re  jane,  Jane  Hading, 
Clara  Morris,  Kate  Claxton,  Modjeska,  Rhea,  May 
Fortescue,  Mrs.  Potter,  Sadie  Martinot,  Marie 
Wainwright,  Olga  Nethersole,  and  Mrs.  Fiske. 


5^Iap^  of  tfjc  ^rc^ait*  1 1 9 

The  Gay  Lord  Quex,  a  drama  in  four  acts  by 
Arthur  W.  Pinero,  was  produced  at  the  Globe 
Theatre,  London,  on  April  8,  1899,  and  ran  there 
through  the  remainder  of  the  season  and  the  fol- 
lowing summer.    The  original  cast  was : 

Marquess  of  Quex John  Hare. 

Sir  Chichester  Frayne Gilbert  Hare. 

Captain  Bastling Charles  Cherry. 

Vahna    Frank  Gillmore. 

Duchess  of  Strood  May  Fortescue. 

Countess  of  Ou'bridge  Fanny  Coleman. 

Airs.  Jack  Eden  Mona  K.  Oram. 

Muriel  Eden Mabel  Terry  Lewis. 

Sophy  Fullgarney Irene  Vanbrugh. 

For  a  few  weeks  during  the  summer  Mr.  Hare 
retired  from  the  cast,  and  the  title  role  was  then 
played  by  Mr.  Dawson  Millward.  During  the 
season  of  1900-1901  "The  Gay  Lord  Quex"  was 
performed  in  the  provincial  theatres  of  England. 
On  November  12,  1901,  an  American  tour  by 
an  English  company,  with  Mr.  Hare  at  its  head, 
was  begun  at  the  Criterion  Theatre,  New  York, 
and  continued  throughout  the  remainder  of  the 
season,  j\Iiss  Vanbrugh  playing  Sophy  Fullgar- 
ney, and  Mr.  Gilbert  Hare  appearing  as  Sir  Chi- 
chester Frayne.  Miss  Ada  Ferrar  replaced  Miss 
Fortescue  as  the  Duchess  of  Strood,  and  Miss 
Louise  Moodie  succeeded  Miss  Coleman  as  the 
Countess  of  Ozvbridge. 

A  German  version  of  "The  Gay  Lord  Quex" 
was  produced  at  the  Lessing  Theatre  in  Berlin 
on  January  13,  1900. 


I20  piapjsf  of  tjjc  ^re^efcnt* 


The  Girl  I  Left  Behind  Me,  a  drama  in  four 
acts  by  David  Belasco  and  Franklin  Fyles,  was 
produced  at  the  National  Theatre,  Washington, 
D.  C,  January  i6,  1893,  and  on  January  25  it 
formed  the  opening  production  at  the  Empire  Thea- 
tre, New  York.  It  was  originally  acted  at  Sadler's 
Wells  Theatre,  London,  England,  on  January  6. 
The  American  cast  was : 

General  Kennion Frank  Mordaunt. 

Major  Burleigh    W.  H.  Thompson. 

Lieutenant  Edgar  Hawkesworth  William  Morris. 
Lieutenant  Morton  Parlow  ....   Nelson  Wheatcroft. 

Sergeant  Dicks  Thomas  Oberle. 

Orderly  McGlynn  James  O.  Barrows. 

Private  Jones  Orrin  Johnson. 

Dr.  Arthur  Penwick  Cyril  Scott. 

Dick  Burleigh   Wallie  Eddinger. 

Andy  Jackson    Joseph  Adelman. 

John  Ladru  (Scar  Broiv) Theodore  Roberts. 

Fell  an  Ox  Frank  Lathrop. 

Silent  Tongue  Arthur  Hayden. 

Kate  Kennion   Sidney  Armstrong. 

Lucy  Hawkesworth  Odette  Tyler. 

Wilber's  Ann  Edna  Wallace  Hopper. 

Fawn  Afraid  Katharine  Florence. 

"The  Girl  I  Left  Behind  Me"  was  a  melodrama 
that  succeeded  in  spite  of  its  faults.  Probably  no 
play  of  the  day  was  more  open  to  criticism  in  mat- 
ters of  detail  and  dialogue,  and  yet  the  realistic 
manner  in  which  it  was  put  on  the  stage  and  the 
excellent  company  that  gave  it  carried  it  to  a  suc- 
cess that  was  doubtless  beyond  even  the  authors' 
expectations,  and  to-day  it  is  still  acted  as  one  of 
the  most  popular  of  American  plays.     There  are 


^\ap0  of  tfjc  JprcjSfcnt. 


121 


many  parts  in  it  which  prove  effective  in  the  hands 
of  capable  players,  and  some  noted  actors  besides 
those  of  the  first  cast  have  been  seen  to  advantage 
in  it.  So  many  of  the  players  who  created  the 
characters  are  well  known  that  it  is  hard  to 
enumerate  the  individual  successes,  but  Mr.  Mor- 
daunt,  Mr.  Thompson,  ]\Ir.  Roberts,  Mr.  Barrows, 
and  Miss  Armstrong  were  especially  praised  for 
their  naturalness. 

The  Great  Ruby,  a  melodrama  in  six  acts  by 
Cecil  Raleigh  and  Henry  Hamilton,  was  produced 
at  the  Theatre  Royal,  Drury  Lane,  London,  on 
September  15,  1898.    The  cast  was  as  follows: 

Lady  Garnctt Mrs.  John  Wood. 

Countess  Mirtza  Charkoff "     Cecil  Raleigh. 

Mrs.  Elsmere  Bella  Pateman. 

Miss  Brenda  Elsmere Maud  Hoffman. 

The  Hon.  Moya  Denzil Marie  Rignold. 

The  Hon.  Kathleen  Denzil Mabel  Lowe. 

Louisa  Jupp  Lillian  Menelly. 

Miss  Flossie  de  Grosvenor Birdie  Sutherland. 

Miss  Millie  Paget  Augusta  Walters. 

Jane  Slater Mary  Brough. 

Parsons  Margaret  Brough. 

Prince  Kassam  IVadia Robert  Loraine. 

Viscount  Montyghal C.  M.  Lowne. 

Aid.  Sir  John  Garnett,  Kt J.  B.  Gordon. 

Lord  George  Hartopp Mr.  Shirley. 

Captain  Clive  Dalrymplc Dawson  Millward. 

Sir  Simon  Beauclerc Michael  Dure. 

James  Brett G.  R.  Foss. 

Cornish  J.  Bradbourne. 

Bentley   Howard  Russell. 

Hans    C.  Angelo. 

Innkeeper  Charles  Danvers. 


122  l^lap^ef  of  tjc  ©trcjEfent 


Jack  Dennis Charles  Trevor. 

Andreivs  William  Morgan. 

Trent  Frank  Damer. 

Morris  Longman  Robert  Pateman. 

Like  all  the  popular  Drury  Lane  melodramas, 
"The  Great  Ruby"  contained  a  crucial  sensational 
scene,  the  episode  in  this  instance  being  a  duel  to 
the  death  which  took  place  in  a  balloon  in  mid- 
air. The  American  rights  to  the  play  were  imme- 
diately secured  by  Augustin  Daly,  and  it  was 
brought  out  for  the  first  time  in  this  country  at  his 
theatre  in  New  York  on  February  9,  1899,  with 
this  cast: 

Lady  Garnett  Ada  Rehan. 

Countess  Mirtsa  Charkoff Blanche  Bates. 

Mrs.  Elsmere  Mrs.  G.  H.  Gilbert. 

Brenda  Elsmere  May  Cargill. 

The  Hon.  Moya  Dcnzil Mabel  Roebuck. 

The  Hon.  Kathleen  Densil Beatrice  Morgan. 

Louisa  Jupp  Paula  Edwardes. 

Flossie  de  Grosvenor Louise  Draper. 

Millie  Paget Virginia  Navarro. 

Jane  Slater Anne  Caverly. 

Parsons   Lucy  Spinney. 

Housemaid   Laura  Hall. 

Prince  Kassim  Wadia Charles  Richman. 

Viscount  Montyghal   Wilfred  Clarke. 

Aid.  Sir  John  Garnett,  Kt Herbert  Gresham. 

Lord  George  Hartopp   George  Greppo. 

Captain  Clive  Dalrymple  White  Whittlesey. 

Sir  Simon  Beauclerc  James  Young. 

James  Brett  Sidney  Herbert. 

Morris  Longman   William  Hazeltine. 

Andrews    DeWitt  Jennings. 

Trent    Clement  Hopkins. 

Cornish    William  F.  Owen. 

Bentley    Paul  McAllister. 


5plap^  of  tjc  JDrc^nit*  123 


Hans George  Howard. 

Innkeeper    William  Strong. 

Jack  Dennis  Fulton  Russell. 

Gouch Harold  Lewis. 

Its  popularity  in  this  country  was  equal  to  that 
which  it  had  gained  in  Great  Britain,  and  it  en- 
joyed a  long  and  financially  successful  run  at 
Daly's  Theatre.  During  the  following  season  it 
was  played  through  the  leading  cities  of  the  United 
States,  Isabelle  Urquhart  appearing  as  Lady  Gar- 
nett,  Louise  Thorndyke  Boucicault  as  Countess 
Mirtza,  Kate  Lester  as  Mrs.  Elsniere,  White  Whit- 
tlesey as  Prince  Kassini,  C.  S.  Abbe  as  Viscount 
Montyghal,  Louis  Massen  as  Sir  John  Garnett, 
and  Frank  Losee  as  James  Brett. 


Griffith  Gaunt,  a  dramatization  by  Augustin 
Daly  of  Charles  Reade's  novel,  was  produced  at 
the  New  York  Theatre  November  7,  1866.  Charles 
Reade's  "Griffith  Gaunt"  was  the  sensation  of  the 
literary  hour.  It  first  appeared  in  an  English 
paper  called  "The  Argosy,"  but  before  publication 
in  this  country  it  attracted  little  attention.  Then 
it  was  attacked  in  the  press  on  the  ground  of  im- 
morality, and  its  fame  and  fortune  were  made  at 
a  bound.  Charles  Reade,  with  his  customary 
childishness,  at  once  brought  suit  for  libel,  and 
was  rewarded  with  damages  to  the  munificent 
amount  of  six  cents !  "Griffith  Gaunt"  proved  the 
culminating  point  in  his  career,  despite  the  ill  sue- 


1 24  Pap^  of  tf)c  5^rc^cnt» 

cess  of  his  lawsuit.  It  brought  him  a  great  deal 
of  money,  enabling  him  to  pay  off  his  heavy  debts 
and  to  save  a  handsome  sum  in  addition. 

A  dramatization  of  the  book  was  of  course  in- 
evitable. Augustin  Daly,  then  a  journalist  and 
dramatic  critic  whose  career  had  just  begun,  made 
a  play  out  of  the  story  inside  of  four  days,  and 
his  work  was  creditable  in  many  ways.  Its  scenes 
were  powerful,  its  character  sketches  vivid,  and 
its  interest  logical  and  cumulative.  It  was  pro- 
duced, under  the  management  of  Mark  Smith  and 
Lewis  Baker,  on  the  date  above  given,  at  the  New 
York  Theatre,  a  house  erected  on  the  site  of  the 
Church  of  the  Messiah  the  year  before  and  opened 
then  as  Lucy  Rushton's  Theatre.  It  was  origi- 
nally intended  to  devote  the  house  to  burlesque 
and  light  plays,  but  its  first  success  was  made  with 
"Griffith  Gaunt,"  a  play  of  entirely  different 
calibre. 

The  acting  was  excellent  in  every  way.  Rose 
Eytinge,  then  in  the  early  days  of  professional 
life,  visualized  the  author's  idea  of  the  heroine, 
Katherine  Peyton,  in  looks  and  manner;  John  K. 
Mortimer,  whose  success  at  the  Olympic  Theatre 
as  Badger  in  "The  Streets  of  New  York,"  was 
still  fresh  in  the  public  mind,  acted  Griffith  Gaunt; 
Lewis  Baker  appeared  as  Tom  Leicester;  Mark 
Smith  as  the  Chief  Justice;  Humphrey  Bland  as 
Squire  Peyton;  George  W.  Jamieson  as  Brother 
Leonard;   Mrs.    Gomersall   as   Mercy    Vint,   and 


J)Iapj6f  of  t^t  ^tc^tnt 


12! 


JNIarie  Wilkins  as  Caroline  Ryder.  Air.  Daly's 
"Griffith  Gaunt"  had  only  one  revival  in  New 
York.  It  was  presented  for  the  benefit  of  the 
widow  and  children  of  Humphrey  Bland,  at  the 
Theatre  Frangais  on  West  Fourteenth  Street,  April 
14,  1869.  D.  H.  Harkins  acted  Griffith  Gaunt,  sup- 
ported by  substantially  the  original  cast.  Another 
version  was  tried  at  Niblo's  on  August  ii,  1874, 
but  met  with  little  favor. 

The  Heart  of  Maryland,  a  romantic  drama  in 
four  acts  by  David  Belasco,  was  produced  at  the 
Grand  Opera  House  in  Washington  on  October 
9,  1895.     The  cast  was : 

General  Hugh  Kendrick  Frank  Mordaunt. 

Colonel  Alan  Kendrick   Maurice  Barrymore. 

Colonel  Fulton  Thorpe   John  E.  Kellerd. 

Lieutenant  Robert  Telfair   ....  Cyril  Scott. 

Provost  Sergeant  Blount Odell  Williams. 

Tom  Boone  Henry  A.  Weaver,  Jr. 

Lloyd  Calvert  Edward  J.  Morgan. 

Mrs.  Clayborne  Gordon Helen  Tracy. 

Maryland  Calvert Mrs.  Leslie  Carter. 

Phoebe  Yancey  Georgi.\  Busby. 

Nanny  McNair  Angela  McCaull. 

At  the  Herald  Square  Theatre,  on  the  following 
October  22,  "The  Heart  of  Maryland"  was  given 
for  the  first  time  in  New  York ;  and  midway  in  the 
run  there,  which  continued  several  months,  Her- 
bert Kclcey  replaced  Mr,  Barrymore  as  Colonel 
Alan  Kendrick.  Throughout  the  following  sea- 
son it  was  played  in  the  leading  theatres  of  the 


1 26  5^lapj8f  of  t^t  ^tc^mt 

United  States,  and  on  April  9,  1898,  it  began  a 
run  of  three  months  in  London  at  the  Adelphi 
Theatre,  Mrs.  Carter  being  received  with  an  enthu- 
siasm equal  to  that  which  she  had  gained  in  her 
own  country.  For  the  London  production,  Mr. 
Barrymore  again  appeared  as  Colonel  Alan  Ken- 
drick,  the  other  leading  characters  being  inter- 
preted by  Harry  Harwood  as  General  Hugh  Ken- 
drick,  Edward  J.  Morgan  as  Colonel  Fulton 
Thorpe,  Frank  Mills  as  Lieutenant  Robert  Tel- 
fair, Malcolm  Williams  as  Lloyd  Calvert,  Helen 
Macbeth  as  Phoebe  Yancey,  and  Minnie  Dupree 
as  Nanny  McNair.  After  "Zaza"  was  produced, 
with  Mrs.  Carter  in  the  leading  role,  "The  Heart 
of  Maryland"  continued  to  be  played  in  the  Ameri- 
can theatres  with  Alma  Kruger,  Mabel  Howard, 
and  Helene  Wintner  successively  in  her  stead. 

The  Henrietta,  a  comedy  in  four  acts  by  Bron- 
son  Howard,  was  produced  at  the  Union  Square 
Theatre,  New  York,  on  September  26,  1887.  It 
was  written  especially  for  Robson  and  Crane,  who 
were  then  at  the  height  of  their  popularity  as  joint 
stars,  and  the  original  cast  was  as  follows : 

Nicholas  Vanalstyne  W.  H.  Crane. 

Dr.  Parke  Wainwright H.  J.  Lethcourt. 

Nicholas  Vanalstyne,  Jr Charles  Kent. 

Bertie  Vanalstyne,  a  Lamb Stuart  Robson. 

Lord  Arthur  Trelawney   Lorimer  Stoddard. 

Rev.  Dr.  Murray  Hilton Frank  Tannehill,  Jr. 

Watson  Flint Henry  Bergman. 

Musgrave    Louis  Carpenter. 


J)lap30f  of  tl^c  prc^mt,  127 


Mrs.  Cornelia  Opdyke Selena  Fetter. 

Rose  Vanalstyne  Sibyl  Johnstone. 

Agnes  Lockzi'ood  Jessie  Storey. 

Lady  Mary  Trelawney  May  Waldron. 

The  new  play  was  given  every  advantage  that 
stagecraft  could  devise.  In  sixty-eight  weeks  it 
drew  $497,852,  a  sum  which  shows  what  can  be 
done  with  a  good  play  by  an  American  dramatist. 
"The  Henrietta"  was  the  last  piece  in  which  Rob- 
son  and  Crane  appeared  together,  and  on  May  ii, 
1889,  at  the  Star  Theatre,  New  York,  they  termi- 
nated a  partnership  of  twelve  years  by  acting  the 
leading  roles  in  Bronson  Howard's"  play.  It  re- 
mained the  property  of  Stuart  Robson,and  has  been 
used  by  him  at  intervals  during  the  past  twelve 
years,  its  last  revival  being  made  at  the  begin- 
ning of  the  season  of  1901-1902.  Nicholas  Vanal- 
st\ne  has  been  successively  played  by  Frank  Mor- 
daunt,  Thomas  A.  Wise,  and  Maclyn  Arbuckle; 
Dr.  Parke  Wainzvright  by  Frank  Losee,  James  E. 
Wilson,  Edwin  Holt,  and  Charles  Lane;  Nicholas 
Vanalstyne,  Jr.,  by  Edward  J.  Ratcliffe,  John  Web- 
ster, Jr.,  and  Russ  Whytal ;  Lord  Arthur  Trelaw- 
ney by  Ernest  Tarleton,  Harrison  Armstrong,  and 
Clifford  Leigh ;  Rev.  Dr.  Murray  Hilton  by  George 
Woodward  and  Joseph  Keefe;  Watson  Flint  by 
Revel  Germaine,  Ogden  Stevens,  and  Roy  Atwell ; 
Mrs.  Cornelia  Opdyke  by  EUie  Wilton,  Emma 
Vaders,  May  Waldron  Robson,  and  Eleanor  Barry ; 
Rose  Vanalstyne  by  Helen  Rand,  Eugenia  Linde- 


1 28  5^lapi9?  of  tftc  ^rc^cut, 

mann,  Lida  McMillan,  and  Estelle  Carter;  Agnes 
Lockivood  by  Katherine  Florence,  Edna  Brothers, 
and  Mary  Realty;  and  Lady  Mary  Trelazvney  by 
Helen  Mar,  Gertrude  Perry,  and  Laura  Thompson. 

The  Hobby  Horse,  a  comedy  in  three  acts  by 
Arthur  W.  Pinero,  was  produced  at  the  St.  James's 
Theatre,  London,  on  October  23,  1886.  The  thea- 
tre and  company  were  under  the  management  of 
John  Hare  and  Mrs.  Kendal,  and  the  cast  of  char- 
acters was  as  follows : 

Rev.  Nod  Bryce  Herbert  Waring. 

Mr.  Spencer  Jermyn John  Hare. 

Mr.  Pinching   C.  W.  Somerset. 

Mr.  Shattock Mr.  Mackintosh. 

Mr.  Pews "     Hendrie. 

Mr.  Lyman   W.  M.  Cathcart. 

Mr.  Moulter  Mr.  Thomas. 

Tom  Clarke   Fuller  Mellish. 

Hewett  Albert  Sims. 

Tiny  Landon Master  Reed. 

Mrs.  Spencer  Jermyn Mrs.  Kendal. 

Mrs.  Porcher  "      Gaston  Murray. 

Miss  Moxon  "      B.  Tree. 

Bertha Miss  Webster. 

Mrs.  Langdon "      B.  Huntley. 

"The  Hobby  Horse"  was  continued  uninterrupt- 
edly at  the  St.  James's  Theatre  for  one  hundred 
and  nine  performances,  the  run  ending  on  February 
26,  1887;  but  it  was  only  a  qualified  success,  in 
spite  of  its  long  season.  The  classification  of  the 
piece  as  a  "comedy"  was  strongly  excepted  to,  but 
in  answer  thereto  Pinero — so  states  the  editor  of 


g)Iapi^  of  t\yt  present.  129 

his  published  plays — defined  a  comedy  as  a  farce 
written  by  a  deceased  author. 

Although  'The  Hobby  Horse"  was  cast  and 
ready  for  rehearsal  at  the  Boston  Museum  in  1886, 
it  was  not  produced  in  this  country  until  Decem- 
ber 10,  1896,  when  the  Amateur  Comedy  Club 
gave  one  public  performance  of  it  at  the  Carnegie 
Lyceum  in  New  York.  Mr.  Hare  performed  it  for 
the  first  time  in  America  at  the  Academy  of  Music, 
[Montreal,  on  November  18,  1896;  and  for  the  first 
time  in  the  United  States  at  the  Star  Theatre,  Buf- 
falo, on  December  i,  1896.  Its  first  professional 
performance  in  New  York  came  on  January  4, 
1897,  with  ]\Ir.  Hare  as  Mr.  Spencer  Jertnyn,  at  the 
Knickerbocker  Theatre.    The  cast  ran  as  follows : 

Rev.  Noel  Bryce Frank  Gillmore. 

Mr.  Spencer  Jermyn John  Hare. 

Mr.  Pinching  Frederick  Kerr. 

Mr.  Shattock Charles  Groves. 

Mr.  Pews Charles  Goold. 

Lyman    W.  M.  Cathcart. 

Tom  Clarke Gilbert  Hare. 

Hewett   E.  Reynolds. 

Mrs.  Spencer  Jermyn May  Harvey. 

Mrs.  Porcher  Mrs.  Susie  Vaughn. 

Miss  Moxon  Mona  K.  Oram. 

Bertha  Nellie  Thorne. 

Mrs.  Langdon  Laura  MacGilvray. 

Home,  a  play  in  three  acts  by  Thomas  W.  Rob- 
ertson, was  produced  at  the  Haymarket  Theatre, 
London,  on  January  14,  1869.  Thirty  years  ago, 
"the  teacup-and-sauccr  drama,"  as  some  irreverent 
critic  once  called  the  placid  theatrical  creations  of 

9 


130  i?ifap^  of  tljc  Ij^tc^mt 

Robertson,  ruled  the  English  theatres.  Never  did 
playwright  struggle  so  hard  for  a  foothold  as  Rob- 
ertson, and  never  did  playwright  jump  so  rapidly 
into  public  favor.  For  a  dozen  years  his  mono- 
syllabic-titled plays  were  the  talk  of  theatrical  Eng- 
land, and  ever  since  then  his  "Caste,"  his  "School," 
and  his  "Home"  have  been  relied  upon  by  man- 
agers in  need  of  a  play  sure  to  please  the  public. 
Of  the  three  plays  mentioned,  "Home"  seems  to 
have  struck  the  popular  fancy  to  a  less  degree  than 
either  "Caste"  or  "School." 

"Home"  is  a  free  adaptation  of  "L'Aventuriere," 
a  domestic  tragedy  by  Emile  Augier  which  ranks 
high  in  the  literary  drama  of  nineteenth-century 
France.  "L'Aventuriere"  was  produced  in  Paris 
in  i860,  and  although  gaining  great  prominence 
in  the  French  theatres,  did  not  attract  the  attention 
of  English  adapters  for  several  years.  Robert- 
son's version,  however,  was  ready  for  the  stage 
some  time  before  its  first  production.  In  1867  it 
fell  into  Joseph  Jefferson's  hands  under  the  title 
of  "Across  the  Atlantic,"  and  was  rehearsed  by 
him  at  the  Varieties  Theatre  in  New  Orleans.  Not 
liking  the  leading  part  of  Colonel  White,  Jeffer- 
son returned  the  manuscript  to  Robertson,  accom- 
panied by  a  draft  for  five  hundred  dollars.  Robert- 
son subsequently  sold  the  play  to  Edward  A.  Soth- 
em,  who,  after  making  a  number  of  alterations, 
produced  it  at  the  Haymarket  Theatre,  London, 
on  the  date  above  given,  with  the  following  cast: 


g)lap>0?  of  t\^t  ^tt^tnt  131 


Mr.  Dorrison  W.  H.  Chippendale. 

Colonel  IVIiite  Edward  A.  Sothern. 

Captain  Mouiitraffe  Mr.  Compton. 

Bertie  Thompson  Robert  Astley. 

Dora  Thornhaugh  Caroline  Hill. 

Lucy  Dorrison Ione  Burke. 

Mrs.  Pinchbeck  Ada  Cavendish. 

As  Sothern's  part  in  "Home"  was  not  a  roman- 
tic one,  he  felt  very  doubtful  concerning  it,  but 
after  the  production  of  the  play  he  wrote  to  a 
friend :  "  'Home'  is  a  great  hit — every  one  giving 
me  more  praise  than  I  deserve.  I  played  so  ner- 
vously the  first  night  that  I  fully  expected  a  cut- 
ting up  in  the  papers.  However,  the  public  is 
satisfied,  and  I  always  acknowledge  the  verdict 
it  gives,  pro  or  con."  Sothern  undoubtedly  added 
to  his  reputation  by  his  clever  impersonation  of 
Colonel  White.  "Home"  was  thenceforth  familiar 
to  all  London  theatre-goers.  The  most  notable 
revival  came  on  October  27,  1881,  when  the  St. 
James's  Theatre  was  reopened  under  the  manage- 
ment of  John  Hare  and  W.  H.  Kendal,  with 
"Home,"  cast  as  follows : 

Mr.  Dorrison  T.  N.  Wenman. 

Colonel  White  W.  H.  Kendal. 

Captain  Mountraffe  John  Hare. 

Bertie  Thompson   T.  W.  Robertson. 

Dora  Thornhaugh  Kate  Bishop. 

Lucy  Dorrison Maud  Cathcart. 

Mrs.  Pinchbeck  Mrs.  Kendal. 

Mountraffe,  so  admirably  acted  by  Mr.  Comp- 
ton in  the  first  production  at  the  Haymarket  Thea- 


132  ??lapjsf  of  tjc  5^rc^ciit 

tre,  was  made  by  Mr.  Hare  an  accurate  and  precise 
study  of  a  rascally  and  dissolute  character.  He 
acted  with  a  merciless  fidelity  that  made  the  man 
astoundingly  repulsive  and  odious — so  much  so 
that  some  critics  said  that  his  presence  would  not 
be  tolerated  in  any  respectable  house.  The  T.  W. 
Robertson  who  played  Bertie  Thompson  was  a  son 
of  the  dramatist. 

On  May  ii  of  the  preceding  year,  Augier's 
original  play,  "L'Aventuriere,"  had  been  acted  in 
French  at  the  Prince  of  Wales's  Theatre,  with 
Genevieve  Ward,  Mile.  Herbert,  Beerbohm  Tree, 
Horace  Wigan,  and  M.  Marius  in  the  cast. 

The  American  managers  seized  upon  Robert- 
son's plays  without  delay.  The  rivalry  between  the 
Boston  Museum  and  Selwyn's  Theatre  was  at  its 
height  just  at  the  time  of  the  original  productions 
of  "School"  and  "Home."  The  former,  produced 
in  London  on  January  22,  1869,  was  brought  out 
at  Selwyn's  on  February  15.  The  latter  was  put 
on  at  the  Boston  Museum  on  Thursday,  February 
25,  with  "The  Silver  Spoon"  as  an  afterpiece. 
Charles  Barron  appeared  as  Alfred  Dorrison  (or 
Colonel  White)  and  Annie  Clarke  as  Mrs.  Pinch- 
beck. Lester  Wallack  also  added  "Home"  to  his 
repertory,  and  in  1869- 1870  played  Alfred  Dorri- 
son, with  Agnes  Booth,  Rachel  Noah,  Louis  Al- 
drich,  Harry  Murdoch,  and  Helen  Tracy  in  the 
supporting  cast. 

E.  A.  Sothern  also  played  Alfred  Dorrison  in 


EDWARD  H.   SOTHERN. 

As    Franoois   Villon,   in    If   I    Were    King. 


IpJapjSf  of  t|jc  prcsmt.  133 

this  country,  and  in  1 879-1 880  an  eccentric  Eng- 
lish actor,  Sir  Randal  Roberts,  distinguished  him- 
self more  or  less  in  the  character.  In  1883,  Henry 
M.  Pitt  headed  a  company  in  whose  repertory 
"Home"  was  included.  It  is  now  occasionally  re- 
vived by  resident  stock  companies. 

If  I  Were  King,  a  romantic  play  in  four  acts 
by  Justin  Huntley  AlcCarthy,  was  produced  by 
Edward  H.  Sothern  at  the  Garden  Theatre,  New 
York,  on  October  14,  1901,  the  cast  of  characters 
being  as  follows : 

Frangois  Villon  E.  H.  Sothern. 

Louis  XI  George  W.  Wilson. 

Tristan  L'Hermite  Arthur  R.  Lawrence. 

Oliver  Le  Dain  John  Findlay. 

Thibaut  D'Aussigny Norman  Conniers. 

Noel  Le  Jolys  Henry  J.  Carvill. 

Rene  De  Montigny Sydney  C.  Mather. 

Guy  Tabarie Rowland  Buckstone. 

Colin  De  Cayeulx Herbert  Ayling. 

Jelian  Le  Loup   William  Park. 

Casin  Cholet William  J.  Sorelle. 

Robin  Turgis  Frederick  Lotto. 

Trois  Echelles  Malcolm  Bradley. 

Petit  Jean  George  C.  Raye. 

Du  Lau Frederick  Courten.\y. 

Poncet  De  Riviere  Fred  B.  Hanson. 

De  Nantoillct  B.  B.  Belcher. 

Toison  D'Or,  Burgundian  Herald  Charles  Vane. 

Montjoye,  French  Herald  Francis  Powell. 

Captain  of  the  Watch Charles  Redmund. 

Kathcrine  De  Vaucelles  Cecilia  Loftus. 

Mother  Villon  Fanny  L  Burt. 

Huguette  Du  Hatnel  Suzanne  Sheldon. 

Jehanneton  Le  Belle  Heaulmiere.   Clara  Blandick. 

Blanche    Charlotte  Deane. 

Guillcmette   Helen  Logan. 

9* 


134  ^Jt^P^  of  tljc  5^cc^cnt. 


Isabeau  Rachel  Crown. 

Dctiise    Annette  Huntington. 

Queen  Margaret  B.  Caskie. 

After  running  about  two  months  at  the  Garden 
Theatre,  it  was  taken  on  tour,  Helen  McGregor 
succeeding  Miss  Loftus  as  the  heroine. 

Impulse,  a  comedy  in  five  acts  adapted  by  B.  C. 
Stephenson  from  "La  Maison  du  Mari,"  was  pro- 
duced at  the  St.  James's  Theatre  in  London,  on 
December  9,  1882,  with  this  cast: 

Mrs.  Bercsford Mrs.  Kendal. 

Mrs.  Macdonald  Linda  Dietz. 

Miss  Kilmore  Mrs.  Gaston  Murray. 

Mrs.  Birkett  Miss  Cowle. 

Sir  Henry  Aucland A.  Beaumont. 

Colonel  Macdonald T.  N.  Wenman. 

Captain  Cricliton  Mr.  Kendal. 

Victor  de  Riel Arthur  Dacre. 

Graham    Mr.  Brandon. 

Parker "      Drummond. 

Waiter    "     De  Verney. 

Under  the  pseudonym  of  Bolton  Rowe,  Mr. 
Stephenson  had  collaborated  with  Clement  Scott 
in  the  making  of  such  dramas  as  "Diplomacy" 
and  "A  Wife's  Peril."  Many  of  his  previous 
efforts  had  been  in  the  same  line,  for  "Diplo- 
macy" and  "A  Wife's  Peril"  are  but  English  ver- 
sions of  Sardou.  The  chief  objection  to  "Im- 
pulse" at  the  time  of  its  production  arose  from 
the  fact  that  it  might  have  rationally  been  com- 
pressed into  three  acts,  instead  of  being  extended 


pap^ef  of  tfjc  present.  1 3  s 

to  five.  But  in  spite  of  this  the  public  liked  it,  and 
the  excellent  acting  helped  it  greatly  into  popular- 
ity. The  dialogue  was  unusually  bright  and  was 
rendered  all  the  more  so  by  the  skill  of  the  actors. 
Air.  Dacre,  who,  it  will  be  remembered,  met  with 
an  untimely  death  in  Australia,  made  one  of  his 
first  hits  in  the  character  of  Victor,  and  Miss 
Dietz  gave  an  interesting  impersonation  of  the 
heroine. 

Mr.  Stephenson's  later  work  has  been  of  no  great 
distinction,  although  he  has  occasionally  produced 
a  play  which  has  pleased  the  public  craze  for  nov- 
elty. He  wrote  the  libretto  to  ."Dorothy" — or 
rather  rewrote  it  from  Charles  Johnson's  old  Eng- 
lish comedy  of  "The  Country  Lasses,  or  The  Cus- 
tom of  the  Manor" — and  collaborated  with  Haddon 
Chambers  in  the  writing  of  "The  Fatal  Card." 

"Impulse"  proved  a  success,  and  in  a  few 
months  after  its  original  production  was  given  in 
this  country  with  as  favorable  results  as  in  Eng- 
land. The  Kendals  performed  it  upon  their  visit 
here  in  the  season  of  1 888-1 889,  and  have  since 
included  it  in  their  repertory  during  some  of  their 
American  tours. 


Ingomar,  a  romantic  drama  in  five  acts,  adapted 
by  Maria  Lovell  from  the  German  of  Friedrich 
Halm,  was  performed  for  the  first  time  in  America 
at  the  Chestnut  Street  Theatre,  Philadelphia,  on 


136  papjsf  of  tf^c  ^tt^cnt 

November  19,  185 1,  with  Mrs.  Warner  as  Par- 
thenia,  William  MacFarland  as  Ingomar,  and  Bar- 
ton Hill  as  Polydor.  It  was  first  given  in  New 
York  at  the  Broadway  Theatre  on  December  i, 
1 85 1.     The  cast  was  as  follows: 

Ingomar F.  B.  Conway. 

Polydor    Thomas  Barry. 

Myron    A.  W,  Fenno. 

The  Timarch   Thomas  J.  Hind. 

Alastor  Mr.  Pope. 

Ambivar    Mr.  Matthews. 

Parthenia  Mme.  Ponisi. 

Actea Mrs.  Abbott. 

Few  plays  of  so  little  merit  have  maintained  so 
constant  a  popularity  as  has  "Ingomar"  during  its 
fifty  years'  existence  in  this  country.  Not  a  few 
leading  actors  have  considered  the  title  character 
worthy  of  their  powers,  and  almost  every  young 
actress  of  any  prominence  has  acted  Parthenia  dur- 
ing some  part  of  her  career.  In  the  generation 
which  followed  the  play's  production,  Ingomar 
was  acted  in  this  country  by  E.  L.  Davenport  and 
John  McCullough,  and  Parthenia  by  Mrs.  Mowatt 
and  Julia  Dean.  To  playgoers  of  the  present  gen- 
eration the  Ingomar  of  the  elder  Salvini  is  familiar. 
Among  present-day  American  actors,  the  part  has 
been  played  by  Frank  Mayo,  Louis  James,  Edward 
J.  Buckley,  Creston  Clarke,  Robert  Downing,  R.  D. 
MacLean,  W.  S.  Hart,  Robert  Taber,  Eben  Plymp- 
ton,  Charles  Barron,  Joseph  Haworth,  and  Henry 
Jewett,  generally  as  leading  men  in  support  of  star- 


COPVRICHT,    ISc;,    Ei    :.Ai:0-EON   SARONV. 


MARY  ANDERSON, 

As    Paplhenia,  in    Ingot-nar 


i 


papisf  of  tf^t  ^tc^cnt  137 

ring  Parthenias,  among  whom  have  been  Alaggie 
Mitchell,  Janish,  Mary  Anderson,  Marie  Prescott, 
Minna  Gale,  Marie  Wainwright,  Eugenie  Blair, 
]\Iaude  Banks,  Julia  Alarlowe,  Julia  Arthur,  and 
Henrietta  Crosman. 

In  the  Palace  of  the  King,  a  drama  in  six  acts 
by  Lorimer  Stoddard,  from  Francis  Marion  Craw- 
ford's romance  of  the  same  name,  was  produced  at 
the  Richmond  Theatre  in  North  Adams,  Massa- 
chusetts, on  September  17,  1900.  In  the  following 
month  it  was  played  in  Chicago,  and  on  December 
31  began  a  long  run  at  the  Theatre  Republic  in 
New  York.     The  cast  was : 

Philip  the  Second  Eben  Plympton. 

Don  John  of  Austria Robert  T.  Haines. 

Cardinal  Luis  de  Torres Edgar  L.  Davenport. 

Antonio  Peres C.  Leslie  Allen. 

Miguel  de  Antona  William  Norris. 

Captain  de  Mendoza J.  H.  Benrimo. 

Don  Lope  Zanata Eugene  Svveetland. 

Anne,  Queen  of  Spain Margaret  Shaffer. 

Princess  of  Eboli Marcia  Van  Dresser. 

Duchess  of  Alva  Sue  Van  Duser. 

Dowager  Duchess  of  Medina  Si- 

donia   Blanche  Moulton. 

Madame  la  Comtesse  de  Baume  .  Mabel  Norton. 

Dona  Mencia    Lida  Hall. 

Dona  Inez   Gertrude  Norman. 

Dona  Maria  Dolores  de  Mendoza.  Viola  Allen. 

During  the  engagement  at  the  Theatre  Repub- 
lic, Charles  Kent  replaced  Mr.  Plympton  as  King 
Philip  the  Second,  and  when  the  play  began  its 
tour  of  the  United  States  at  the  beginning  of  the 


138  Pay^  of  tfjc  prciGfcnt. 

season  of  1901-1902,  W.  E.  Bonney  appeared  as 
the  King,  William  Pascoe  as  Don  John  of  Austria, 
Walter  Hitchcock  as  the  Cardinal,  Arthur  T.  Hoyt 
as  Miguel,  Jennie  Eustace  as  the  Princess  Eboli, 
and  Adelaide  Warren  as  Dona  Inez. 

The  Ironmaster,  a  drama  in  four  acts  adapted 
by  Arthur  W.  Pinero  from  Georges  Ohnet's  "Le 
Maitre  de  Forges,"  was  produced  at  the  St.  James's 
Theatre  in  London,  on  April  17,  1884.  The  cast 
of  characters  was  as  follows : 

Due  de  Bligny  Edward  J.  Henley. 

Octave    George  Alexander. 

Baron  de  Prcfont  Herbert  Waring. 

Philippe  Derblay  W.  H.  Kendal. 

General  de  Pontac Mr.  Brandon. 

Moulinet    J.  F.  Young. 

Bechelin  J.  Maclean. 

Dr.  Servan   A.  Knight. 

Old  Gobert   R.  Cathcart. 

Young  Gobert   Mr.  Day. 

Mouchot "     Daniels. 

Marquise  de  Beaupre Mrs.  Gaston  Murray, 

Baronne  de  Prefont  Linda  Dietz. 

Claire  de  Beaupre Mrs.  Kendal. 

Athenais Miss  Vane. 

Su::anne  Derblay  "      Webster. 

Brigette    "      Turtle. 

"Le  Maitre  de  Forges,"  the  original  of  'The 
Ironmaster,"  was  performed  for  the  first  time  at 
the  Gymnase-Dramatique  in  Paris,  on  December 
15,  1883,  Philippe  Derblay  being  acted  by  M.  J. 
Damala,  and  Claire  by  Mile.  Jane  Hading.  An 
English  version  of  M.  Ohnet's  novel,  from  which 


^la\^0  of  tl)c  $)rf.0citt,  139 

he  derived  his  play,  had  been  previously  made  by 
Robert  Buchanan,  and  was  produced  at  the  Globe 
Theatre,  in  London,  on  April  11,  1883. 

During  the  first  American  tour  of  INIr.  and  ]\Irs. 
Kendal,  "The  Ironmaster"  held  a  leading  place  in 
their  repertory,  and  was  played  here  by  them  for 
the  first  time,  on  October  17, 1889,  at  the  Fifth  Ave- 
nue Theatre,  New  York.  Sarah  Bernhardt  had  pre- 
viously acted  Claire  in  the  original  version  in  New 
York  and  other  American  cities,  and  "The  Iron- 
master" had  been  given  by  the  stock  company  at 
Wallack's  Theatre.  In  the  Kendal  production, 
Mr.  and  ]\Irs.  Kendal  acted  their  original  charac- 
ters, and  Moulinet  was  interpreted  by  J.  E.  Dod- 
son,  the  Due  de  Bligny  by  Joseph  Carne,  and  the 
Duchesse  de  Bligny  by  Florence  Cowell. 

"The  Ironmaster"  has  also  been  played  by  Kyrle 
Bellew  and  Mrs.  Potter  in  this  country,  and  it  is 
even  now  revived  occasionally  by  local  stock 
companies. 

Janice  Meredith,  a  version  of  Paul  Leicester 
Ford's  novel  of  the  same  name,  arranged  for  the 
stage  by  Edward  E.  Rose  and  Mr.  Ford,  was  pro- 
duced at  the  Star  Theatre  in  Buffalo,  on  October 
I,  1900,  ]Mary  Mannering  then  making  her  first 
appearance  as  a  star.  The  play  was  in  four  acts, 
and  was  cast  as  follows : 

Charles  Fownes  Robert  Drouet. 

Philemon  Hennion  Burr  McIntosh. 


I40  pap^ef  of  tjjc  ^rcjBfcnt, 


Lord  Clowes  A.  S.  Lipman. 

Lieutenant  Mobray  George  Backus. 

Colonel  Raid Carl  Ahrendt. 

Squire  Meredith Charles  M.  Collins. 

Squire  Hennion  Martin  J.  Cody. 

Joe  Bagley  Aubrey  Beattie. 

Lieutenant  Baker John  D.  O'Hara. 

Trooper  Rossmore R.  R.  Neill. 

Mrs.  Meredith   Louise  Rial. 

Tabitha  Drinkwater   Amy  Ricard. 

Sukey    _ Vivian  Bernard. 

Janice  Meredith  Mary  Mannering. 


It  proved  to  have  no  distinctive  merit  as  a 
drama,  but  served  very  well  for  the  exposition  of 
Miss  Mannering's  talents.  On  December  lo  it 
began  an  engagement  at  Wallack's  Theatre  in 
New  York,  and  thereafter,  during  the  remainder 
of  the  season  of  1900-1901  and  a  portion  of  the 
following  season,  was  played  in  many  of  the  prin- 
cipal cities  of  the  United  States. 


Jim  the  Penman,  a  drama  in  four  acts  by  Sir 
Charles  Young,  was  produced  at  the  Haymarket 
Theatre,  London,  on  April  3,  1886.  It  was  an- 
nounced as  "a  romance  of  modern  society,"  and 
became  almost  immediately  the  most  popular  drama 
of  its  decade.  Sir  Charles  Young  was  no  novice 
in  stagecraft,  but  until  "Jini  the  Penman"  he  had 
never  written  a  popular  play.  Only  a  short  time  did 
he  enjoy  the  fruits  of  his  long-delayed  success,  for 
he  died  a  little  more  than  a  year  after  his  famous 
play  was  brought  out.    The  cast  was : 


MARY  MANNERING, 

As  Janice  Meredith. 


paps?  of  t\^t  Present.  141 


lames  Ralston  Arthxjtr  Dacre. 

Louis  Pcrcival Maurice  Barrymore. 

Baron  Hartfeld  H.  Beerbohm  Tree. 

Captain  Redwood  Charles  Brookfield. 

Lord  Drclincourt  Edmund  Maurice. 

Agnes  Ralston Helen  Leyton. 

Lady  Dunscombe  Henrietta  Lindley. 

Mrs.  Chapstone Mrs.  E.  H.  Brooke. 

Mrs.  Ralston  Lady  Monckton. 

It  ran  for  several  months  at  the  Haymarket 
Theatre,  and  when  sent  on  the  road  was  every- 
where enthusiastically  received.  Three  years 
later,  on  June  8,  1889,  the  Shaftesbury  Theatre, 
London,  was  opened  with  "Ywa  the  Penman."  The 
distinguishing  feature  of  this  performance  was 
E.  S.  Willard's  James  Ralston,  which  was  remark- 
able for  its  ease  and  finish  and  wonderfully  con- 
centrated power.  Lady  Monckton  and  Henrietta 
Lindley  played  their  original  parts. 

"Jim  the  Penman"  was  not  long  in  crossing  the 
water,  as  A.  M.  Palmer  had  at  once  secured  the 
American  rights.  It  was  brought  out  at  the  Madi- 
son Square  Theatre,  New  York,  November  i,  1886, 
and  ran  the  entire  season  there,  drawing  crowded 
houses.  On  going  to  Boston  in  May,  1887,  it  was 
given  with  the  original  Madison  Square  cast,  with 
two  or  three  exceptions,  the  principal  change  being 
that  W.  J.  Le  Moyne  no  longer  played  Baron  Hart- 
feld. Frederic  Robinson  as  Jim  the  Penman,  H.  M. 
Pitt  as  Percival,  Louis  Massen  as  Lord  Drelin- 
courf,  J.  B.  Booth,  Jr.,  as  Jack  Ralston,  and  Marie 
Burroughs  as  Agnes  Ralston  were  all  good;  but 


I  \2  ^lap^  of  tje  5^rcjefciit» 

there  were  three  players  whose  work  immediately 
impressed  both  the  public  and  the  critics  as  being 
far  beyond  even  that  of  the  excellent  company 
which  surrounded  them.  These  were  Agnes  Booth, 
whose  Mrs.  Ralston  still  remains  one  of  the  most 
artistic  of  her  characterizations;  Alexander  Sal- 
vini,  who,  as  Baron  Hartfeld,  gave  a  most  surpris- 
ing piece  of  eccentric  comedy,  and  E.  M.  Holland, 
who  played  Captain  Redivood  with  an  elaboration 
of  detail  which  marked  him  as  one  of  the  clever 
character  actors  of  his  generation. 

Since  then  "Ji^^^  the  Penman"  has  been  given 
from  ocean  to  ocean  by  players  of  every  grade, 
and  it  has  invariably  been  received  with  marked 
favor  by  all  classes  of  playgoers. 

King  Arthur,  a  romantic  drama  by  J.  Comyns 
Carr,  was  produced  at  the  Lyceum  Theatre,  Lon- 
don, on  January  12,  1895.  For  some  time  Irving 
had  had  the  subject  of  the  Arthurian  legends  in 
mind  for  a  play,  and  it  was  only  after  a  good  deal 
of  hesitation  that  the  temptation  and  fall  of  Guine- 
vere was  chosen  as  the  leading  motive  of  Mr. 
Carr's  drama.  Its  story  came,  however,  not  from 
the  Tennyson  "Idylls,"  but  directly  from  the  origi- 
nal version  of  Sir  Thomas  Malory.  An  elaborate 
production  was  prepared,  with  all  the  scenic  acces- 
sories which  have  made  the  name  of  Irving  famous 
the  world  over.  The  cast  on  the  first  night  was 
as  follows: 


JDlap^  of  tjc  JprcjSfcnt.  143 


King  Arthur Henry  Irving. 

Sir  Lancelot   Forbes  Robertson. 

Sir  Mordrcd  Frank  Cooper. 

Sir  Kay  Mr.  Tyars. 

Sir  Gawaine  Clarence  Hague. 

Sir  Bcdcvere Fuller  Mellish. 

Sir  Agravainc   Mr.  Lacy. 

Sir  Percevale  "     Buckley. 

Sir  Lavaine Julius  Knight. 

Sir  Dagonct  Martin  Harvey. 

Merlin Sydney  Valentine, 

Messenger  Mr.  Belmore. 

Gaoler "      Tabb. 

Morgan  Le  Fay  Genevieve  Ward. 

Elaine  Lena  Ashwell. 

Clarissant    Annie  Hughes. 

Spirit  of  the  Lake Maud  Milton. 

Genevieve    Ellen  Terry. 

The  premiere  of  "King  Arthur"  was  one  of  the 
most  distinguished  first  nights  in  the  London  the- 
atrical world.  All  the  notabilities  were  present, 
and  at  the  conclusion  of  the  performance  the  actors 
were  called  out  again  and  again.  The  audience 
would  not  leave  until  Mr,  Irving  had  made  one  of 
his  characteristic  speeches,  which  presaged  for 
"King  Arthur"  its  especially  auspicious  career  both 
in  England  and  this  country. 

Irving's  acting  of  King  Arthur  was,  however, 
an  unfortunate  mistake.  If  ever  he  were  unfitted 
for  any  character,  it  was  for  that  of  England's 
mythical  king,  who  should  be  the  embodiment  of 
the  ideal,  the  poetic,  and  the  romantic.  Not  even 
Irving's  great  technical  skill  could  give  the  per- 
sonality of  the  hero  what  it  lacked  in  those  respects. 

"King  Arthur"  was  produced  for  the  first  time 


144  pap^  of  tfjc  ^rc^cnt. 

in  America  at  the  Academy  of  Music,  Montreal,  on 
September  19,  1895.  On  the  first  of  the  following 
month  it  was  given  for  the  first  time  in  the  United 
States  at  the  Tremont  Theatre,  Boston,  and  on  the 
4th  of  November  it  reached  New  York,  where  it 
was  performed  at  Abbey's  (now  the  Knicker- 
bocker) Theatre.  The  cast  on  these  occasions  dif- 
fered slightly  from  that  of  the  original  perform- 
ance, Ben  Webster  replacing  Forbes  Robertson  as 
Sir  Lancelot,  Mary  Rorke  succeeding  Genevieve 
Ward  as  Morgan  Le  Fay,  Julia  Arthur  appearing 
as  Elaine,  and  Ailsa  Craig,  Ellen  Terry's  daugh- 
ter, as  Clarissant. 

King  Charles  I,  a  drama  in  four  acts  by  William 
Gorman  Wills,  was  produced  at  the  Lyceum  Thea- 
tre in  London  on  September  28,  1872.  The  cast 
was: 

Charles  I Henry  Irving. 

Oliver  Cromwell George  Belmore. 

Marquis  of  Huntley Mr.  Addison. 

Lord  Moray E.  F.  Edgar. 

Ireton R.  Markby. 

Pna^f.  S  ^^ISS    E.    MaYNE. 

"^^"^  \     "      J.  Henri. 

Princess  Elisabeth   

Prince  James  

Prince  Henry  

Lady  Eleanor  Davys 

Queen  Henrietta  Maria Isabel  Bateman. 

The  Lyceum  Theatre  was  managed  by  H.  L, 
Bateman  at  the  time  that  "King  Charles  I,"  or,  as 


Harwood. 

Allcroft. 

Welch. 

G.  Pauncefort. 


3plap.fif  of  tfjc  present.  145 

it  was  then  called,  "Charles  the  First,"  was  pro- 
duced there.  The  original  cast  was  not  remark- 
able, Irving  being  the  only  actor  who  showed  any 
special  merit;  but  there  were  good  points  in  Mr. 
Wills's  poetic  drama  if  properly  presented,  and 
later,  with  Ellen  Terry  as  the  Queen,  it  became  a 
feature  of  Irving's  repertory.  It  was  given  by  him 
during  his  first  tour  in  this  country  in  the  season 
of  1 883-1 884,  Miss  Terry  making  her  American 
debut  as  the  Queen  at  the  Star  Theatre  in  New 
York,  October  30,  1883,  and  since  then  has  been 
seen  in  a  number  of  his  American  visits.  The  last 
tour  of  Irving  and  Terry  in  this  country  opened 
with  a  performance  of  "King  Charles  I"  at  the 
Knickerbocker  Theatre,  New  York,  on  October 
21,  1901. 

Lady  Huntworth's  Experiment,  a  comedy  in 
three  acts  by  R.  C.  Carton,  was  produced  at  the 
Criterion  Theatre  in  London  on  April  26,  1900. 
The  play  was  written  for  the  special  purpose  of 
providing  a  suitable  character  for  Mr.  Carton's 
wife.  Miss  Compton,  and  gained  an  immediate 
popularity.    The  cast  of  characters  was : 

Captain  Dorvaston  Arthur  Bourchier. 

Rev.  Audlcy  Pillcngcr  Eric  Lewis. 

Rev.  Henry  Thoresby A.  E.  Matthews. 

Gandy    Ernest  Hendrie. 

Newspaper  Boy Master  Reginald  Denny. 

Mr.  Crayll Dion  Boucicault. 

Miss  Hannah  Pillenger Fanny  Coleman. 

10 


146  ^lapjGf  of  tjc  ^^rcj^ciit. 


Lucy  Pillenger  Gertrude  Elliott. 

Kesiah   Pollie  Emery. 

Caroline  Rayward  Miss  Compton. 


The  American  rights  to  the  play  were  secured 
by  Daniel  Frohman,  and  it  was  produced  for  the 
first  time  in  this  country  at  Daly's  Theatre,  New 
York,  on  December  21,  1900.     The  cast : 

Captain  Dorvaston  John  Mason. 

Rev.  Audley  Pillenger Grant  Stewart. 

Rev.  Henry  Thoresby William  Courtenay. 

Mr.  Crayll  Jameson  Lee  Finney. 

Newspaper  Boy  Master  Reginald. 

Candy    William  F.  Owen. 

Miss  Hannah  Pillenger Mrs.  Charles  Walcot. 

Lucy  Pillenger  Cecilia  Loftus. 

Kesiah May  Robson. 

Caroline  Rayward Hilda  Spong. 

The  play  was  continued  several  months  at  Daly's 
Theatre,  and  during  the  following  season  was 
given  in  other  cities.  The  changes  in  the  cast  in- 
volved the  appearance  of  Arthur  Forrest  as  Cap- 
tain Dorvaston,  Beatrice  Morgan  as  Lucy  Pillen- 
ger, Mrs.  Thomas  Whiffen  as  Miss  Hannah  Pil- 
lenger, and  Nevada  Hefron  as  Kesiah. 

Lady  Windermere's  Fan,  a  comedy  in  four  acts 
by  Oscar  Wilde,  was  produced  at  the  St.  James's 
Theatre  in  London  on  February  20,  1892,  the  cast 
including  George  Alexander  as  Lord  Winder- 
mere, Nutcombe  Gould  as  Lord  Darlington,  H. 
H.  Vincent  as  Lord  Augustus  Lorton,  Fanny  Cole- 


JAMESON  LEE  FINNEY,      and      HILDA  SPONG. 

Af5  Mp.  Crayll  As  Caroline  Rayward. 

In   Lady   Himtwotth's  Experiment. 


J)Iapj^  of  tf^t  ^tc^cnt  147 

man  as  the  Duchess  of  Bcrzvick,  and  Lily  Hanbury 
as  Lady  Windermere.  IMiss  Hanbury  was  suc- 
ceeded after  a  few  performances  by  Winifred 
Emery.  The  first  performance  of  "Lady  Winder- 
mere's Fan"  in  this  country  occurred  at  the  Co- 
lumbia Theatre  in  Boston  on  January  23,  1893,  the 
New  York  engagement  beginning  at  Palmer's 
Theatre  on  February  6.    The  cast  was  as  follows : 

Lord  Windermere  Edward  M.  Bell. 

Lord  Darlington  Maurice  Barrymore. 

Lord  Augustus  Lorton E.  M.  Holland. 

Mr.  Charles  Diimby J.  G.  Saville. 

Mr.  Cecil  Graham  Walden  Ramsay. 

Mr.  Hopper  Edward  S.  Abeles. 

Parker,  a  butler Guido  Marburg. 

Lady  Windermere   Julia  Arthur. 

Duchess  of  Berwick  Mrs.  D.  P.  Bowers. 

Lady  Plymdale  Miss  Jackson. 

Lady  Stutfield  "      Henderson. 

Mrs.  Coix'pcr-Cowper  "      Barrington. 

Lady  Jedhurg Emily  Seward. 

Lady  Agatha  Carlisle  Miss  Urhart. 

Mrs.  Erlynne  May  Brookyn. 

Rosalie,  a  maid Miss  Vislaire. 

In  the  opinion  of  both  critics  and  public,  Mr. 
Wilde's  play  was  undeniably  clever,  and  it  was 
given  during  a  portion  of  the  following  season 
by  Mr.  Palmer's  company,  there  being  no  essen- 
tial changes  in  the  cast.  During  the  past  decade 
it  has  been  revived  both  in  England  and  Amer- 
ica at  infrequent  intervals. 

Led  Astray,  a  drama  adapted  by  Dion  Bouci- 
cault  from  Octave  Feuillet's  "La  Tentation,"  was 


148  piapisf  of  tjjc  5i>tc^nit, 

produced  at  the  Union  Square  Theatre,  New  York, 
on  December  8,  1873.  For  some  time  it  passed 
as  Boucicault's  own  work,  but  the  discovery  was 
soon  made  that  its  original  might  be  found  in  the 
published  plays  of  Octave  Feuillet  under  the  title 
of  "La  Tentation."  Investigation  showed  that 
Boucicault  had  altered  his  original  much  less  than 
was  his  wont,  and  that  he  had  done  little  else  than 
change  the  names  of  the  characters  and  a  few  of 
the  incidents.  The  scene  of  "La  Tentation"  is  laid 
in  Normandy  and  Paris,  and  the  characters  are 
French,  except  George  Gordon  Trevelyan,  who  is 
a  poet  of  Irish  origin,  and  Cowperson,  a  comic 
Englishman  who  frequently  expresses  himself  in 
his  own  language.  Trevelyan  appears  in  Bouci- 
cault's version  as  George  de  Lesparre,  a  French 
novelist,  and  through  the  influences  of  a  peculiar 
whirligig  of  fate  is  required  to  speak  with  a  pro- 
nounced Gallic  accent.  Cowperson  becomes  an 
Irish  major  named  O'Hara.  Boucicault's  other 
alterations  consist  chiefly  in  the  substitution  of 
the  names  of  Rodolphe,  Hector,  Armande  and 
Mathilde  for  those  of  Gontran,  Achille,  Camille 
and  Helene. 

"La  Tentation"  was  produced  at  the  Theatre  du 
Vaudeville  in  Paris  in  i860,  with  M,  Lafont  as 
the  Count,  and  about  five  years  later  the  first 
English  adaptation  was  played  at  the  Haymarket 
Theatre  in  London  under  the  title  of  "A  Danger- 
ous Friend." 


pap-^  of  ti)t  present*  149 

The  original  production  of  "Led  Astray"  ran 
for  several  months  at  the  Union  Square  Theatre, 
and  on  i\Iarch  i6,  1874,  it  began  at  the  Boston 
Museum  an  engagement  lasting  six  weeks.  It  was 
announced  as  a  new  play  "which  has  just  attained 
its  one  hundredth  representation  in  New  York, 
and  is  still  the  reigning  attraction  of  the  metrop- 
olis."   The  cast  was  as  follows : 

Count  Rodolphe  Chandoce  Charles  Barron. 

Hector  Placide  William  Warren. 

Mount  Gosline J.  A.  Smith. 

George  de  Lesparre W.  H.  Crisp. 

Major  O'Hara W.  J.  Le  Moyne. 

Lafontaine    Ja'Mes  Nolan. 

Robert    S.  W.  Standish. 

Countess  Armande  Chandoce Annie  Clarke. 

Mathilde   Mary  Cary. 

Suzanne  O'Hara Laura  Phillips. 

Dowager  Countess  de  Chandoce  . . .  Mrs.  J.  R.  Vincent. 

Baroness  de  Rivoniere Miss  M.  Parker. 

Sophie    JosiE  Bowne. 

In  July,  1874,  "Led  Astray"  had  its  first  London 
production  at  the  Gaiety  Theatre,  a  special  com- 
pany, including  several  American  players,  being 
engaged  by  Mr.  Boucicault  for  the  British  sea- 
son. Armande  was  played  by  Helen  Barry,  an 
English  actress  who  some  years  later  became  well 
known  in  this  country ;  Rodolphe  Chandoce  was  in- 
trusted to  Charles  R.  Thorne,  Jr. ;  and  the  Hector 
Placide  was  Stuart  Robson,  who  had  been  so  well 
liked  in  the  part  by  New  York  theatre-goers  that 
Mr.  Boucicault  considered  his  services  necessary 
to  a  London  success.     Mr.  Robson's  style,  how- 


10* 


ISO  ^l^W  ^^  ffjc  Jprci^cnt* 

ever,  did  not  please  many  of  the  London  critics, 
Dutton  Cook  writing  in  his  review  that  "Mr.  Rob- 
son's  merits  are  not  remarkable;  he  appears  to  be 
one  of  those  unamusing  low  comedians  who  are 
already  too  numerous  in  our  theatres."  "Led 
Astray,"  nevertheless,  took  England  by  storm, 
for  by  1875  it  had  a  record  of  four  hundred  and 
ninety-eight  performances  at  various  London  thea- 
tres, a  sufficient  evidence  of  its  instant  popularity. 
Henceforth,  its  success  was  only  intermittent. 
There  is  record  on  February  22,  1879,  of  a  special 
matinee  performance  at  the  Olympic  Theatre,  with 
Miss  Barry  in  her  original  role  of  Armande,  and 
William  Rignold,  J.  A.  Rosier,  F.  H.  Macklin, 
Mrs.  Leigh  Murray  and  Marie  Daly  in  the  other 
leading  characters.  Since  then  its  performances 
have  been  few  and  far  between. 

The  Liars,  a  comedy  in  four  acts  by  Henry  Ar- 
thur Jones,  was  produced  at  the  Criterion  Theatre 
in  London  on  October  6,  1897,  and  ran  there  con- 
tinuously, with  the  exception  of  the  summer  vaca- 
tion, until  November  2,  1898.  The  original  cast 
was  as  follows : 

Colonel  Sir  Christopher  Deering  . .  Charles  Wyndham. 

Edward  Falkner  T.  B.  Thalberg. 

Gilbert  Nepean Herbert  Standing. 

George  Nepean   Leslie  Kenyon. 

Freddie  Tatton   A.  Vane  Tempest. 

Archibald  Coke  Alfred  Bishop. 

Waiter    Paul  Berton. 

Taplin  R-  Lambart. 


ptip.sf  of  t^t  IDrc^ciit.  151 


Gadsby   C.  Terric. 

Footman    A.  Eliot. 

Mrs.  Crespin Janette  Steer. 

Beatrice  Ebernoc Cynthia  Brooke. 

Dolly  Coke  Sar.\h  Brooke. 

Ferris    Miss  M.  Barton. 

Lady  Rosamund  Tatton   Irene  Vanbrugh. 

Lady  Jessica  Nepean  Mary  Moore. 


After  its  withdrawal  from  the  stage  of  the  Cri- 
terion Theatre,  "The  Liars"  was  played  in  the 
English  provinces.  It  was  revived  in  London  on 
June  20,  1900,  at  Wyndham's  Theatre,  with  Mr. 
Wyndham,  Mr.  Standing,  ]\Ir.  Tempest,  Mr. 
Bishop,  the  two  Misses  Brooke,  and  Miss  Moore 
in  their  original  roles,  T.  B.  Thalberg  as  Edzvard 
Falkncr,  Alfred  Kendrick  as  George  Nepean,  Alice 
de  Winton  as  Mrs.  Crespin,  and  Miss  E.  Spencer 
Brunton  as  Lady  Rosamund  Tatton. 

The  first  performance  of  "The  Liars"  in  this 
country  was  given  in  New  York  at  the  Empire 
Theatre,  on  September  26,  1898,  the  cast  being 
as  follows : 


Colonel  Sir  Christopher  Deering  ....  John  Drew. 

Edward  Falkner  Arthur  Byron. 

Gilbert  Nepean   D.  H.  Harkins. 

George  Nepean  Orrin  Johnson. 

Freddie  Tatton  Lewis  Baker. 

Archibald  Coke Harry  Harwood. 

Waiter   Frank  E.  Lamb. 

Taplin    Darwin  Rudd. 

Gadsby  Frank  Short. 

Footman    Gardner  Jenkins. 

Mrs.  Crespin   Marie  Derickson. 

Beatrice  Ebernoe   Blanche  Burton. 


1 5  2  i^Inp^  of  tljc  Present, 


Dolly  Coke  Elizabeth  Tyree. 

Ferris  Clara  Hunter. 

Lady  Rosamund  Tatton  Annie  Irish. 

Lady  Jessica  Nepean Isabel  Irving. 

After  a  short  run  at  the  Empire  Theatre,  Mr. 
Drew  and  his  company  toured  through  the  United 
States  in  Mr.  Jones's  play,  the  changes  in  the  cast 
involving  the  appearance  of  Ethel  Barrymore  as 
Beatrice  Ebernoe,  Gertrude  Gheen  as  Dolly  Coke, 
Georgie  Mendum  as  Ferris,  and  Gage  Bennett  as 
Gadshy.  "The  Liars"  is  occasionally  played  by 
resident  stock  companies. 


The  Lights  o'  London,  a  melodrama  in  five  acts 
by  George  R.  Sims,  was  produced  at  the  Princess's 
Theatre  in  London  on  September  lo,  1881.  The 
cast  included  the  following  players : 

Mr.  Armytage  G.  R.  Peach. 

Harold  Armytage Wilson  Barrett. 

Clifford  Armytage   E.  S.  Willard. 

Marks J.  Beauchamp. 

Scth  Preene  Walter  Speakman. 

Philosopher  Jack Charles  W.  Coote. 

Percy  de  Vere,  "Esq." Neville  Doone. 

Trotters  W.  Waite. 

Joey_  Master  Worley. 

Jarvis    George  Barrett. 

Jim    W.  J.  Phipps. 

Shakespeare  Jarvis Eugenie  Edwards. 

Mrs.  Jarvis  Mrs.  Stephens. 

Bess    Miss  Eastlake. 

Hetty  Preene  Emmeline  Ormsby. 

Tottie  Maude  Clitherow. 

Sal Lizzie  Adams. 

Janet  Miss  A.  Cooke. 

Annie   "      G.  Wright. 


$)Iap^  of  tljc  5prc^cnt.  153 

To  say  that  Sims's  play  was  brovight  out  under 
the  management  of  Wilson  Barrett  is  equivalent 
to  saying  that  it  was  brought  out  as  perfectly  as 
melodrama  can  be ;  for  that  actor,  in  starting  on  his 
career  as  manager  of  the  Princess's  Theatre,  had 
resolved  to  produce  well-written  and  interesting 
melodramatic  pieces  with  the  same  painstaking 
care  that  had  distinguished  the  great  Shakesperian 
revivals  of  Charles  Kean  and  Samuel  Phelps.  To 
this  end  he  had  gathered  about  him  one  of  the 
best  companies  of  players  in  the  metropolis,  and, 
aided  by  a  stage  manager  who  understood  to 
perfection  the  manipulation  of  stage  crowds,  so 
essential  to  every  stirring  melodrama,  and  by  some 
of  the  cleverest  of  London's  scenic  artists,  he  was 
in  a  position  to  show  theatre-goers  that  even  a 
sensational  and  exciting  play  could  be  given  so 
skilfully  as  to  win  for  it  respect  as  a  work  of  art. 

In  "The  Lights  o'  London"  Mr.  Barrett  gave 
a  spirited  and  manly  interpretation  of  the  part  of 
the  hero,  Harold  Armytage,  while  an  admirable 
contrast  to  him  was  afforded  by  Mr,  Willard,  who 
played  the  villain  in  an  entirely  unconventional 
manner.  He  was  positively  fascinating  in  his 
crimes,  being  natural  and  not  at  all  stagy ;  as 
a  cool,  white-livered,  satirical,  thoroughly  bad 
youth,  his  part  merited  all  the  hisses  which  the 
gallery  liberally  bestowed.  One  of  the  cleverest 
bits  of  acting  was  the  Philosopher  Jack  of  the  late 
Charles  W.  Coote,  who  was  destined  to  be  con- 
nected with  other  successes  of  Mr.  Barrett. 


1 54  S>lap^  of  tftc  ^t€0mt 

The  scene  in  the  Borough  on  a  Saturday  night 
was  a  marvel  of  stage  reaHsm.  There  was  the 
shouting  of  the  costermongers,  the  jingle  of  the 
piano-organ,  the  screams  and  yells  of  the  low,  vul- 
gar creatures  who  swarmed  in  and  out  of  the 
public-houses,  the  life  of  a  London  slum,  in  all 
its  hideousness,  being  depicted  so  truthfully  as  to 
be  absolutely  painful.  Nothing  more  effective  in 
stage  management  than  the  fight  in  the  streets 
had  been  seen  in  London  for  years ;  there  was  no 
effect  of  training  or  drill,  and  the  critics  of  the 
day  had  to  go  back  to  the  visit  of  the  famous 
Meiningen  Company  to  find  a  parallel  to  the  won- 
derful manipulation  of  the  stage  forces. 

The  play  was  seen  in  New  York  and  Boston 
the  same  season,  although  it  was  not  given  as 
realistic  a  representation  as  it  received  in  London. 
Since  then  it  has  been  revived  again  and  again, 
especially  at  the  lower-priced  theatres,  and  is  likely 
to  hold  the  boards  long  after  many  more  meri- 
torious plays  are  forgotten. 

Little  Loiud  Fauntleroy,  a  dramatization  of  her 
own  story  of  the  same  name,  by  Mrs.  Frances 
Hodgson  Burnett,  was  produced  at  the  Boston 
Museum  on  September  lo,  1888,  with  the  follow- 
ing cast : 

Earl  of  Dorincourt Henry  M.  Pitt. 

Mr.  Havisham,  a  solicitor C.  Leslie  Allen. 

Silas  Hobbs,  a  grocer George  W.  Wilson. 


COPYRIGHT,     looo,    bi    f.AFOLEO.^   SAHON 


ELSIE  LESLIE, 

As  Little   Lord  Fauntleroy. 


pnpsf  of  rt)c  JDrcacnt,  155 

Wilkius,  a  groom  James  Nolan. 

Higgins,  a  fanner Thomas  L.  Coleman. 

Thomas,  a  footma)i H.  P.  Whittemore. 

Cedric  Errol,  Lord  Fauntlcroy  .  . .  Elsie  Leslie. 

Dick  Tipton,  a  shoeblack Miriam  O'Leary. 

Mrs.  Errol Viola  Allen. 

Minna Annie  M.  Clarke. 

Mary    Kate  Ryan. 

Jane    Grace  Atwell. 

After  a  run  of  ten  weeks  the  piece  was  with- 
drawn, to  be  revived  again  late  in  the  next  spring 
for  a  further  engagement  of  thirteen  weeks.  Since 
then  it  has  been  given  all  over  the  country,  and, 
besides  Elsie  Leslie,  such  juvenile  players  as 
Tommy  Russell,  Alice  Pierce,  Olive  Homans,  and 
Lillian  jMasterson  have  been  seen  in  the  title  char- 
acter. 

"Little  Lord  Fauntleroy"  revived,  for  a  time, 
the  juvenile  drama  which  had  been  lying  dormant 
for  a  number  of  years,  and  established  a  craze  for 
child  acting  which  is  happily  now  restricted  within 
sensible  bounds.  It  was  no  unusual  thing  for  a 
Museum  matinee  audience  during  the  run  of  Mrs. 
Burnett's  piece  to  resemble  a  nursery,  and  the  sobs 
and  cries  of  the  feminine  portion  of  the  spectators 
at  the  parting  of  the  little  earl  from  his  mother 
were  either  pathetic  or  ludicrous,  according  to  the 
temperament  of  the  onlooker.  A  short  time  later 
Mrs.  Burnett's  "Editha's  Burglar"  was  drama- 
tized by  Augustus  Thomas  into  a  full-fledged 
three-act  play,  and  helped  to  carry  on  the  passion 
for  theatrical  juvenility. 


156  piiW  "Jf  tf)c  5?rci3fent 

The  first  performance  of  "Little  Lord  Fauntle- 
roy"  was  in  many  ways  a  notable  one.  Mr.  Pitt 
played  the  earl  in  one  of  his  strongest  and  most 
distinctive  moods,  while  Mr,  Allen's  Havisham, 
Mr.  Wilson's  Hobbs,  and  Miss  Clarke's  Minna 
would  have  helped  on  the  play  toward  popular 
victory  even  if  it  had  had  no  bolstering  power 
from  without.  Miss  Allen's  Mrs.  Errol  was  also 
a  memorable  rendering  of  that  character,  and,  with 
the  others  of  the  cast,  drew  many  people  to  the 
Museum  who  were  not  especially  interested  in  the 
play  itself,  but  appreciated  the  acting  at  its  true 
value. 

The  Little  Minister,  a  comedy  in  four  acts, 
dramatized  by  James  Matthew  Barrie  from  his 
novel  of  the  same  name,  was  produced  at  the 
Lafayette  Square  Opera  House  in  Washington,  on 
September  13,  1897,  and  on  the  twenty-seventh  of 
the  same  month  began  its  long  New  York  run  at 
the  Empire  Theatre.    The  original  cast  was : 

Gavin  Dishart Robert  Edeson. 

Lord  Rintoul Eugene  Jepson. 

Captain  Halliwell Guy  Standing. 

Lady  Babbie Maude  Adams. 

Felice  Margaret  Gordon. 

Twaits Frederick  Spencer. 

Thomas  Whamond  William  H.  Thompson. 

Bob  Dow  George  Fawcett. 

Micah  Dow  Jessie  Mackaye. 

Snccky  Hobart  Wallace  Jackson. 

Andrew  Mealmaker R.  Peyton  Carter. 

Silva  Tosh  Norman  Campbell. 


5plapjsf  of  tljc  Jprc^cnt,  157 


Sergeant  Davidson   Wilfred  Buckland. 

Joe  Cniikshanks Thomas  Valentine. 

Nannie  Webster Kate  Ten  Eyck. 

Jean   Nell  Stone  Fulton. 


Air.  Barrie's  play  differed  essentially  from  the 
novel  on  which  it  was  founded.  In  it  the  gypsy 
Babbie  is  the  Lady  Barbara,  daughter  of  Lord 
Rintoul,  and  she  merely  masquerades  as  one  of 
the  "accursed  Egyptians"  in  order  that  she  may 
alarm  the  villagers  of  Thrums  against  the  advance 
of  the  British  soldiery.  She  meets  Gavin  Dishart 
by  chance  in  the  wood,  saves  herself  from  the  sol- 
diers by  claiming  to  be  his  wife,  and  henceforth 
the  little  minister  has  a  duty  divided  between  the 
kirk  and  the  girl  whom  he  loves  in  spite  of  him- 
self. Her  witchery  completely  enthralls  him.  In 
the  end.  Lord  Rintoul  seeks  to  keep  Gavin  Dishart 
and  Babbie  apart,  but  naturally  succeeds  only  in 
turning  the  tables  upon  himself.  The  play  ends 
wnih.  his  forgiveness,  and  the  retirement  of  the 
couple  into  the  old  manse,  while  outside  the  neigh- 
bors keep  up  a  bit  of  farcical  by-play  in  their  en- 
deavors to  catch  through  the  window  and  door  a 
glimpse  of  the  happy  pair. 

After  running  six  weeks  at  the  Empire  Theatre, 
until  November  6,  "The  Little  INIinister"  was 
transferred  to  the  Garrick  Theatre  on  the  following 
Monday,  November  8,  and  remained  at  that  house 
until  June  14,  1898,  the  entire  New  York  engage- 
ment covering  thirty-seven  weeks  and  two  hun- 


158  5^Iapi0?  of  tjc  5Prc^cnt. 

dred  and  ninety-nine  performances.  For  two  sea- 
sons thereafter  Miss  Adams  played  Lady  Babble 
on  tour  and  in  New  York,  her  final  engagement 
in  that  city  being  played  in  1899-1900  at  the  Cri- 
terion Theatre.  During  this  period  Mr.  Edeson 
continued  to  play  Gavin  Dishart,  and  there  were  no 
important  changes  in  the  cast. 

"The  Little  Minister"  was  performed  for  the 
first  time  in  London  on  November  6,  1897,  at  the 
Theatre  Royal,  Haymarket,  with  Cyril  Maude  as 
Gavin  Dishart,  and  Winifred  Emery  as  Lady  Bab- 
bie. It  had  a  long  run  there,  and  has  been  also 
played  extensively  through  the  United  Kingdom. 

Lord  and  Lady  Algy,  a  comedy  in  three  acts  by 
R.  C.  Carton,  was  produced  at  the  Comedy  Theatre 
in  London  on  April  21,  1898,  with  Charles  Haw- 
trey  and  Miss  Compton  in  the  title  roles,  Eric 
Lewis  as  the  Marquis  of  Qiiarmby,  and  Henry 
Kemble  as  the  Duke  of  Droneborough.  It  was,  to 
quote  a  contemporary  critic,  "a  veritable  mosaic  of 
humor."  The  American  rights  were  secured  by 
Charles  Frohman,  and  it  was  produced  at  his 
Empire  Theatre  in  New  York  on  February  15, 
1899,  the  cast  being  as  follows : 

Duke  of  Droneborough W.  H.  Crompton. 

Marquis  of  Quarmby  Guy  Standing. 

Lord  Algernon  Chctland William  Faversham. 

The  Hon.  Crosby  J e thro J.  H.  Benrimo. 

Captain  Standidge G.  W.  Howard. 

Brahason  Tudway E.  Y.  Backus. 


^hp^  of  t^c  prciefcnt  159 


Richard  Annesley   John  R.  Sumner. 

Montague  Denton  George  C.  Pearce. 

Mr.  Jcal  W.  H.  Workman, 

Kinch    John  Armstrong. 

Sxvepson  George  Osbourne,  Jr. 

Mazi'lcy  Jemmett  Joseph  Wheelock,  Jr. 

Wyke  Frank  Brownlee. 

Lady  Algernon  Chetland Jessie  Mill  ward. 

Lady  Pamela  Mallison Marian  Gardiner. 

Ottiline  Mallinson Lillian  Thurgate. 

Emily  Cardcw   Louise  Maltman. 

Mrs.  Vokins  May  Robson. 

Mrs.  Brabazon  Tudway Blanche  Burton. 

After  a  successful  run  in  New  York,  it  was 
taken  on  tour  at  the  beginning  of  the  season  of 
1 899-1 900,  ]Mr.  Faversham  and  Aliss  Mill  ward 
appearing  in  the  title  roles.  There  were  but  few 
changes  in  the  cast,  Hon.  Crosby  Jethro  being 
acted  by  John  Frederick  Cook,  and  Mrs.  Vokins  by 
Fanny  Addison  Pitt. 


Lord  Chumley,  a  comedy  in  three  acts  by  David 
Belasco  and  Henry  C.  De  Mille,  was  produced 
at  the  Lyceum  Theatre  in  New  York,  on  August 
20,  1888.    The  cast  was  as  follows: 

Lord  Chumley  E.  H.  Sothern. 

Adam  Butterworth  Charles  B.  Bishop. 

Lieutenant  Hugh  Butterworth  ....  Francis  Carlyle. 

Gasper  Le  Sage Herbert  Archer. 

Tommy  Tucker  Rowland  Buckstone. 

Blink  Blunk   George  Backus. 

IVinterbottom  A.  W.  Gregory. 

Eleanor    Belle  Archer. 

Jessie  Deane  Dora  Leslie. 

Lady  Adeline  Barker Fanny  Addison. 

Meg  Ett.\  Hawkins. 


i6o  papjsf  of  tf)c  ©recent, 

"Lord  Chumley"  in  itself  was  not  of  a  very 
high  order  of  merit,  but.. Mr.  Sothern's  imper- 
sonation of  the  title  character  secured  for  it  a  con- 
tinued existence  of  several  seasons.  Although  in 
recent  years  Mr.  Sothern  has  become  an  actor  of 
romantic  and  tragic  parts,  he  possesses  the  light, 
facile  touch  of  the  bom  comedian,  and  in  Lord 
Chumley  he  made  his  audiences  feel  that  the  in- 
nate humor  of  his  creation  was  something  for 
which  he  alone,  and  not  the  dramatist,  was  re- 
sponsible. It  was  frankly  an  artificial  creation, 
and  from  that  point  of  view  was  irresistibly  comic 
and  farcical. 

In  later  performances  of  "Lord  Chumley," 
Adam  Butterworth  was  played  by  Rowland  Buck- 
stone,  Gasper  Le  Sage  by  Morton  Selten,  Tommy 
Tucker  by  Tully  Marshall,  and  Lady  Adeline  Bar- 
ker by  Kate  Pattison-Selten. 

Louis  XI,  a  drama  in  five  acts  adapted  from  the 
French  of  Casimir  Delavigne,  was  first  performed 
in  English,  in  a  version  by  W.  R.  Markwell,  at  the 
•Theatre  Royal,  Drury  Lane,  London,  on  February 
14,  1853,  the  cast  including  E.  L.  Davenport  as 
the  King,  Edward  Stirling  as  Nemours,  Henry 
Wallack  as  Coiticr,  and  Fanny  Vining  as  Marie 
de  Comines.  The  next  year  Dion  Boucicault 
brought  out  his  now  famous  version — the  one 
which  Henry  Irving  uses — in  New  York.  In  the 
midst   of   his    famous    Shakespearian   revivals   in 


pia0  of  tf]c  ^present.  1 6 1 

1855,  Charles  Kean  put  on  Boticicault's  adapta- 
tion at  the  Princess's  Theatre,  modehng  his  rep- 
resentation of  the  French  king  upon  the  imperson- 
ation of  that  character  by  Ligier. 

Charles  Dillon  was  also  a  famous  representative 
of  Louis  XI,  giving  his  performance  for  the  first 
time  in  London  on  March  22,  1858,  the  occasion 
being  a  benefit  for  himself  and  his  wife.  As  late 
as  October  18,  1875,  he  was  seen  as  the  King,  play- 
ing at  the  Theatre  Royal,  Hull,  under  the  man- 
agement of  Sefton  Parry.  Katherine  Mackenzie 
Compton  was  the  Dauphin  of  that  performance. 

Henry  Irving's  first  appearance  in  "Louis  XI" 
was  at  a  benefit  at  the  Princess's  Theatre,  Man- 
chester, May  4,  1865,  when  he  played  the  Due 
de  Nemours.  He  afterward  appeared  both  as 
Tristan  and  Coitier.  He  first  acted  the  King  at 
the  Lyceum  Theatre  on  March  9,  1878,  and  contin- 
ued in  the  part  during  the  entire  three  months'  run, 
with  James  Fernandez  in  the  character  of  Coitier, 
Albert  G.  Andrews  as  the  Dauphin,  Frank  Clem- 
ents as  Philip,  Mrs.  Chippendale  as  Martha,  and 
Virginia  Frances  Bateman  as  Marie.  When  he 
came  to  this  country  in  1883,  he  brought  out  "Louis 
XI"  at  the  Star  Theatre  in  New  York,  for  the  first 
time  here,  on  November  5,  supported  by  William 
Terriss  as  Nemours,  and  Jessie  Millward  as 
Marie.  Irving's  first  engagement  in  Boston  began 
with  "Louis  XI"  at  the  Boston  Theatre  on  Decem- 
ber 10,  1883,  and  he  repeated  it  the  following  even- 
II 


i62  i>lap^  of  tf)c  ^rc^cnt, 

ing.  Since  then  he  has  played  the  character  on 
almost  all  of  his  American  tours. 

Among  the  actors  who  have  played  Louis  XI 
on  the  American  stage  are  Edwin  Booth,  Walter 
Montgomery,  C.  W.  Couldock,  J.  W.  Albaugh 
(who  used  De  Walden's  blank-verse  adaptation), 
W.  E.  Sheridan,  who  played  Markwell's  version 
in  1880-1881,  and  Dion  Boucicault,  who  acted  the 
King  in  his  own  version  in  New  York  in  1879. 
Thomas  W.  Keene,  shortly  before  his  death, 
brought  out  a  new  adaptation,  said  to  be  from 
the  pens  of  Arden  Smith  and  Edwin  Arden.  His 
first  appearance  in  New  York  in  this  version  was 
on  March  15,  1893. 

The  Lyons  Mail,  a  drama  in  five  acts  adapted 
by  Charles  Reade  from  "Le  Courrier  de  Lyon," 
and  rewritten  by  him  for  Henry  Irving,  was  pro- 
duced at  the  Lyceum  Theatre  in  London  on  May 
19,  1877,  the  cast  being  as  follows : 

Joseph  Lesurques  ) Henry  Irving. 

Dubosc  } 

Jerome  Lesurques  Thomas  Mead. 

Didier    E.  H.  Brooke. 

Joliquet  Lydia  Howard. 

M.  Dorval  Frank  Tyars. 

Lambert    Mr.  Lowther. 

Guerneau    "      Glyndon. 

Postmaster  "     Collett. 

Coco "     Branscombe. 

Gargon "     Tapping. 

Guard    "     Harwood. 

Postillion   "     Allen. 

Courriol    R.  C.  Lyons. 


^lapfif  of  tl\t  Present*  163 

Choppard   Mr.  Huntley. 

Fouinard J.  Archer. 

Diirochat    Mr.  Helps. 

Julie  Lesurqucs Virginia  Francis. 

Jcannctte    Isabel  Bateman. 

The  first  play  upon  the  subject,  a  historic  case 
in  the  criminal  annals  of  France,  was  "L'Ou- 
vrier  de  Messine,"  by  Caigiiiez,  the  well-known 
French  writer  of  melodrama.  This  was  first 
brought  out  about  the  year  1810,  and  some  twenty 
years  thereafter  an  English  version  was  produced 
at  Dublin,  called  "The  Courier  of  Naples."  This 
play,  however,  dropped  permanently  out  of  sight, 
and  was  superseded  by  "Le  Courrier  de  Lyon," 
which  ]\IM.  Moreau,  Siraudin,  and  Delacour  wrote 
in  1850,  the  dramatists  having  obtained  permis- 
sion of  the  heirs  of  Lesurques  for  the  use  of  his 
name  in  their  drama.  On  March  16,  1850,  it  was 
produced  at  the  Theatre  de  la  Gaite  in  Paris,  with 
M.  Lacressoniere,  a  prominent  French  actor  of 
the  period,  in  the  dual  role  of  Lesurques  and 
Dubosc.  As  originally  written,  the  play  had  two 
endings,  Lesurques  on  one  night  going  to  the 
scaffold,  and  on  the  next  night  a  reprieve  arriving 
just  in  time  to  save  him  and  allow  the  execution 
of  the  guilty  Dubosc  in  his  stead. 

This  exciting  melodrama  was  not  long  in  cross- 
ing the  Channel.  John  Coleman,  the  actor  and  man- 
ager, was  the  first  adapter,  and  has  told  in  a  few 
words  the  way  in  which  his  version  was  super- 
seded by  the  superior  arrangement  which  Charles 


1 64  ^iapj^  of  tjjc  5f^trcj^cnt, 

Reade  later  made.  "  'The  Courier  of  Lyons,'  "  in 
one  respect,  is  a  truly  remarkable  piece  of  stage- 
craft," says  Mr.  Coleman.  "Most  of  Reade's 
dramas  are  distinguished  by  prolixity  and  redun- 
dancy, but  here,  in  adapting  another  man's  work, 
he  produced  a  masterpiece  of  construction.  Except 
Palgrave  Simpson's  adaptation  of  Edmund  Yates's 
novel,  'Black  Sheep,'  which  is  a  model  of  drama- 
tization, there  is  nothing  on  the  modern  stage 
which,  for  terseness,  simplicity,  and  strength,  can 
compare  with  Charles  Reade's  arrangement  of 
the  third  and  fourth  acts  of  'The  Courier  of  Lyons.' 
Although  a  mere  expression  of  individual  opinion, 
this  may  at  least  be  accepted  as  an  impartial  one, 
since  I  myself  had  previously  adapted  the  play, 
and  had  acted  it  repeatedly,  but,  upon  seeing 
Reade's  version,  I  put  my  own  into  the  fire.  Ex- 
cellent as  his  manipulation  of  the  work  was,  'The 
Courier  of  Lyons'  did  not  at  that  time  do  much 
to  advance  Mr.  Reade's  reputation."  Versions 
were  also  given  in  London  at  the  Standard,  Vic- 
toria and  Adelphi  theatres,  Leigh  Murray  appear- 
ing at  the  latter  theatre  in  the  dual  role.  On  June 
26,  1854,  at  the  Princess's  Theatre  in  London, 
Charles  Reade's  adaptation  was  produced,  with 
Charles  Kean  as  Lesurques  and  Diihosc,  David 
Fisher  as  Coiirriol,  Mr.  Addison  as  Choppard, 
Charlotte  Leclercq  as  Julie,  and  Kate  Terry  as 
Joliquet.  Again,  in  1870,  when  "The  Courier  of 
Lyons"  was  revived  at  the  Gaiety  Theatre  in  Lon- 
don, Hermann  Vezin  acted  the  dual  role. 


Iplapi^  of  t()c  ^^rcj^cnt  165 

The  title  of  "The  Lyons  IMail"  was  first  given 
to  the  EngHsh  version  of  this  drama  by  Mr.  J.  W. 
Clark  when  he  brought  out  an  altered  arrange- 
ment for  performance  at  Cambridge.  This  name, 
and  not  that  originally  given,  is  really  the  correct 
translation  of  the  French  title,  and  was  adopted 
by  Charles  Reade  himself  when  he  rewrote  the 
play  for  production  at  the  Lyceum  Theatre.  Into 
this  revision  the  dramatist  introduced  a  scene  from 
the  original  previously  omitted,  in  which  the  father 
of  Lesurques,  believing  in  his  son's  guilt,  urges 
him  to  commit  suicide,  and  on  his  refusal  attempts 
with  his  own  hand  to  slay  him. 

"The  Lyons  jNIail"  was  given  by  IMr.  Irving 
during  his  first  tour  of  this  country  in  1 883-1 884, 
and  has  been  repeated  by  him  on  several  of  his 
succeeding  American  engagements. 

Madame  Butterfly,  a  play  in  one  act  adapted  by 
David  Belasco  from  a  short  story  by  John  Luther 
Long,  originally  published  in  "The  Century  Maga- 
zine," was  produced  at  the  Herald  Square  Theatre, 
New  York,  on  ]\Iarch  5,  1900,  as  an  afterpiece  to 
"Naughty  Anthony,"  a  three-act  farce  by  Mr. 
Belasco,  which  had  begun  its  run  at  that  house 
on  January  8,  1900.    The  cast: 

Cho-Cho-San Blanche  Bates. 

Mr.  Sharplcss  Claude  Gillingwater. 

Lieutenant  B.  F.  Pinkerton Frank  Worthing. 

Yamadori   Albert  Bruning. 

Nakado  Edward  P.  Wilks. 

Suzuki Marie  Bates. 

j^^ate  Katherine  Black. 

II* 


1 66  Pap^  of  t|)C  5pcc^ciit» 

The  play  proved  one  of  the  most  effective  one- 
act  pieces  known  to  the  modern  stage,  and  Miss 
Bates's  acting  of  the  heroine  was  highly  com- 
mended. It  was  given  at  the  Herald  Square 
Theatre  for  about  a  month,  and  when  Mr.  Belasco 
went  to  London  in  April,  to  bring  out  Mrs.  Carter 
in  "Zaza"  at  the  Garrick  Theatre,  he  took  the  en- 
tire scenic  outfit  with  him.  After  due  preparation, 
it  was  produced  for  the  first  time  in  Great  Britain 
at  the  Duke  of  York's  Theatre,  London,  on  Satur- 
day evening,  April  28,  1900,  as  an  afterpiece  to 
Jerome  K.  Jerome's  "Miss  Hobbs,"  the  cast  being 
as  follows : 

Cho-Cho-San Evelyn  Millard. 

Mr.  Sharpless  Claude  Gillingwater. 

Lieutenant  B.  F.  Pinkerton Allan  Aynesworth. 

Yamadori   William  H.  Day. 

Nakado   J.  C.  Buckstone. 

Suzuki  SuziE  Vaughan. 

Kate  Janet  Evelyn  Sothern. 

"Madame  Butterfly"  ran  until  the  close  of  the 
season  at  the  Duke  of  York's  Theatre,  some  two 
months  and  a  half  later,  both  the  play  and  the  act- 
ing being  universally  praised  by  the  London  press 
and  public. 

At  the  beginning  of  the  season  of  1 900-1 901, 
"Madame  Butterfly"  and  "Naughty  Anthony" 
were  made  into  a  double  bill  under  Mr.  Belasco's 
direction,  the  tour  extending  through  the  Eastern 
States  and  as  far  west  as  Nebraska,  from  the  mid- 
dle of  September  until  the  last  of  January.     On 


pnp^  of  tJjc  Prc.fifcnt  167 

February  i8,  1901,  "jMadame  Butterfly"  was  put 
on  at  Proctor's  Fifth  Avenue  Theatre  in  New 
York  as  a  part  of  the  variety  bill  at  that  house, 
and  was  played  there  continuously  twice  a  day 
for  twelve  weeks,  closing  on  j\Iay  11.  The  cast  for 
part  of  the  season  was : 

Cho-Cho-San    Valerie  Bergere. 

Mr.  Sharplcss  Claude  Gillingwater. 

Lieutenant  B.  F.  Pinkcrton Rankin  Duvall, 

Yainadori   Lew  McCord. 

Nakado   Edward  P.  Wilks. 

Susuki Helena  Phillips. 

Kate Mary  Mackenzie. 

Jilidway  in  the  engagement  at  the  Fifth  Avenue 
Theatre,  ^Ille.  Pilar-AIorin  replaced  Miss  Bergere 
as  Cho-Cho-San,  Mr.  IMcCord  succeeded  IMr. 
Gillingwater  as  Mr.  Sharpless,  and  Westropp 
Saunders  appeared  as  Yainadori.  A  brief  tour  of 
"Madame  Butterfly"  at  the  beginning  of  the  season 
of  1901-1902,  with  the  cast  as  last  given,  except 
that  Miss  Bertha  St.  Clair  played  Susiiki,  com- 
pletes its  record  to  the  present  time. 

Magda  is  the  name  by  which  Hermann  Suder- 
mann's  drama  of  modern  life,  "Heimath,"  is  known 
in  the  theatres  of  Great  Britain  and  the  United 
States.  "Heimath"  was  produced  at  the  Lessing 
Theater  in  Berlin  in  1893,  and  is  in  many  ways 
the  most  remarkable  play  of  its  era.  Its  career 
is  almost  unparalleled.  It  has  been  played  in  al- 
most all  the  languages  of  modern  Europe :  in  Italy 


1 68  Pap^  of  t^e  ptc^cnt 

by  Eleanora  Duse,  in  France  by  Sarah  Bernhardt, 
in  England  and  America  by  Modjeska,  Mrs, 
Fiske,  Mrs.  Patrick  Campbell,  and  other  famous 
actresses ;  and  in  London,  New  York,  and  Boston 
it  has  been  given  in  German,  French,  and  Italian 
as  well  as  in  English.  Its  first  performance  in 
America  was  in  the  original  German,  at  the  Irving 
Place  Theatre,  New  York,  on  October  9,  1893,  with 
Charlotte  Durand  in  the  title  character;  a  year 
later,  it  was  revived  at  the  same  house,  with  Lucie 
Freisinger  as  Magda.  The  first  actress  to  under- 
take the  part  in  English  was  Mme.  Modjeska,  in 
a  version  prepared  by  her  husband.  Count  Bozenta, 
and  played  during  the  season  of  1893-1894,  with 
Otis  Skinner  as  Colonel  Schzvartze  (called  Schu- 
bert in  this  version),  Howard  Kyle  as  the  Pastor, 
R.  Peyton  Carter  as  Von  Keller,  and  Guy  Linds- 
ley  as  Max.  In  1 895-1 896  both  Eleanora  Duse 
and  Sarah  Bernhardt  played  "Magda"  in  the  prin- 
cipal theatres  of  this  country,  the  Italian  version 
being  known  as  "Casa  Paterna,"  and  the  French 
as  "Magda."  Their  New  York  appearances  were 
made  respectively  at  the  Fifth  Avenue  Theatre  on 
March  2,  1896,  and  at  Abbey's  (now  the  Knicker- 
bocker) Theatre  on  February  7,  1896. 

At  the  Lyceum  Theatre  in  London,  on  June  3, 
1896,  "Magda"  was  given  in  English  for  the  first 
time  in  that  city,  although  it  had  already  been  per- 
formed there  in  the  original  German,  in  Italian 
by  Duse,  and  in  French  by  Bernhardt.    The  Eng- 


MRS.   PATRICK  CAMPBELL, 

As  Magda. 


^\ap0  of  tjc  5prcjefcnt.  169 

lish  version  was  by  Louis  N.  Parker,  and  the 
cast  was  headed  by  J\Irs.  Patrick  Campbell  as 
Magda,  Forbes  Robertson  as  the  Pastor,  James 
Fernandez  as  Colonel  Sch-wartze,  and  Scott  Buist 
as  Von  Keller.  In  February,  1899,  Mrs.  Fiske 
gave  a  few  performances  of  "Magda"  at  the 
Fifth  Avenue  Theatre,  New  York,  and  in  1901- 
1902  ]\Irs.  Patrick  Campbell,  during  her  first  tour 
of  this  country,  made  the  Louis  N.  Parker  version 
a  prominent  feature  of  her  repertory. 

The  Magistrate,  a  farce  in  three  acts  by  Arthur 
W.  Pinero,  was  produced  at  the  Court  Theatre  in 
London  on  March  21,  1885,  the  cast  being  as 
follows : 

Mr.  Posket  Arthur  Cecil. 

Mr.  Bullamy  Fred  Cape. 

Colonel  Lukyn  John  Clayton. 

Captain  Horace  Vale  F.  Kerr. 

Cis  Farringdon   H.  Eversfield. 

Achille  Blond Albert  Chevalier. 

Isadorc  Mr.  Deane. 

Mr.  Wormington Gilbert  Trent. 

Inspector  Mcssitcr  Albert  Sims. 

Sergeant  Lugg Mr.  Lugg. 

Constable  Harris "     Burnley. 

Wyke    "     Fayre. 

Agatha  Posket  Mrs.  John  Wood. 

Charlotte    Marion  Terry. 

Beattie  Tomlinson   Rose  Norreys. 

Popham    Miss  La  Coste. 

The  farcical  humor  of  "The  Magistrate,"  its  lu- 
dicrous intermingling  of  characters,  and  its  quaint. 


1 70  Papief  of  tt^  ^tc^trtt 

gentle  and  genuine  spirit  of  mirth,  secured  for  it 
immediate  popularity.  The  play  stands  among 
the  best  results  of  Mr.  Pinero's  earlier  and  lighter 
style ;  and  although  it  has  none'  of  those  graceful 
and  pungent  elements  of  satire  which  characterize 
his  later  comedy,  "The  Amazons,"  its  humor  is 
equally  direct  and  unforced.  Although  distinctly 
a  play  of  the  non-intellectual  sort,  and  relying  for 
its  effects  upon  semi-boisterous  scenes  and  compli- 
cated entanglements,  it  is  remarkable  that  "The 
Magistrate"  never  descends  for  a  moment  to  the 
level  of  knockabout  farce.  Its  theme  is  well  worth 
the  three  acts  of  its  telling ;  and  it  does  not  iterate 
and  reiterate  one  threadbare  point,  but  is  full  of 
sudden  surprises  and  unique  situations. 

The  popularity  of  "The  Magistrate"  was  dupli- 
cated in  this  country  when  it  was  brought  out  in 
New  York  at  Daly's  Theatre  on  October  7,  1885, 
the  cast  beins:  as  follows  : 


't> 


Aeneas  Posket James  Lewis. 

Colonel  Lukyn John  Drew. 

Mr.  Bullamy   Charles  Fisher. 

Captain  Horace  Vale Otis  Skinner. 

Sergeant  Lugg Mr.  Gilbert. 

Cis  Farringdon  Hamilton  Bell. 

Achille  Blond Frederick  Bond. 

Sergeant  Messiter   Mr.  Yorke. 

Charlotte  Virginia  Dreher. 

Beattie  Tomlinson  Edith  Kingdon. 

Pophani  May  Irwin. 

Agatha  Posket Ada  Rehan. 

An   American   production   of   equal   excellence 
and  note  was  that  given  by  the  stock  company  at 


^lap^  of  tfjc  5Drcj8fnit-  1 7 1 

the  Boston  Museum  on  October  19,  1885,  the  cast 
being : 

Mr.  Poskct  William  F.  Owen. 

Colonel  Lukyn    Charles  Barron. 

Mr.  Biillamy   Alfred  Hudson. 

Captain  Horace  Vale   John  B.  Mason. 

Cis  Farringdon  William  Seymour. 

Achille  Blond   James  Burrows. 

Isadore Charles  S.  Abbe. 

Mr.   Wormington   A.  R.  Whytal. 

IVyke   James  Nolan. 

Inspector  Messitcr  Louis  Atkins. 

Sergeant  Lugg Albert  Lang. 

Constable  Harris   C.  E.  Boardman. 

Agatha  Posket Annie  Clarke. 

Charlotte  May  Davenport. 

Beattie  Tomlinson  Blanche  Thompson. 

Popham  Helen  Dayne. 


During  the  season  of  1896-1897,  "The  Magis- 
trate" was  revived  by  Mr.  Daly  at  his  theatre  in 
New  York  and  on  tour,  the  cast,  with  the  excep- 
tion of  IMiss  Rehan,  being  entirely  different  from 
that  which  presented  Mr.  Pinero's  play  on  its  pro- 
duction in  this  country.  Mr.  Posket  was  played 
successively  by  Edwin  Stevens  and  Tyrone  Power, 
Mr.  Bull  amy  by  William  N.  Griffiths,  Colonel 
Lukyn  by  Herbert  Gresham  and  Charles  Richman, 
Captain  Horace  Vale  by  Sidney  Herbert,  Cis  Far- 
ringdon by  George  Lesoir,  Achille  Blond  by  Wil- 
liam Sampson  and  William  Hazeltine,  Charlotte 
by  Pauline  French  and  Edith  Crane,  Beattie  Tom- 
linson by  Percy  Haswell,  and  Popham  by  Sara 
Convere  and  Anne  Coverly. 


172  Pap^  of  tijc  5pcc^cnt 


Man  and  Wife,  a  dramatic  version  of  Wilkie 
Collins's  novel  of  the  same  name  by  Augustin 
Daly,  was  produced  at  the  Fifth  Avenue  Theatre 
in  New  York  on  September  13,  1870,  with  the 
following  cast : 

Geoffrey  Dclamayn   D.  H.  Harkins. 

Sir  Patrick  Lundie  James  Lewis 

Bishopriggs    William  Davidge. 

Arnold  Brinkworth  J.  B.  Polk. 

Anne  Sylvester Clara  Morris. 

Blanche  Lundie   Fanny  Davenport. 

Lady  Lundie  Kate  Newton. 

Mrs.  Glenarm   Linda  Dietz. 

Hester  Dcthridge  Mrs.  G.  H.  Gilbert. 

Perry  George  Browne. 

Number  One  George  Parkes. 

Number  Two   Mr.  Bascomb. 

Number  Three  "     Burnett. 

Jonathan  "     Beekman. 

Jo   Kate  Claxton. 

The  first  season  of  Augustin  Daly's  Fifth  Av- 
enue Theatre  had  opened  on  August  16,  1869,  with 
Thomas  W.  Robertson's  "Play,"  but  for  his  sec- 
ond year  of  New  York  management  Mr.  Daly  de- 
termined upon  something  spiced  with  higher  sen- 
sational flavor.  Wilkie  Collins  was  then  at  the  top 
notch  of  his  fame  as  a  writer  of  sensational  nov- 
els. "Man  and  Wife"  was  one  of  his  latest  suc- 
cesses, and  Mr.  Daly  took  advantage  of  its  popu- 
larity by  putting  it  into  dramatic  form  and  using 
it  as  the  opening  attraction  for  his  second  season. 
It  proved  to  be  an  exceptionally  strong  work,  and 
indeed  gained  in  strength  on  account  of  the  skil- 


^lap^  of  tl)c  prcjBfnit. 


173 


ful  distribution  of  characters  among  the  members 
of  Mr.  Daly's  company.  Although  Clara  Morris 
had  been  on  the  stage  some  years,  she  was  un- 
known to  fame  until  her  acting  of  Anne  Sylvester 
on  the  opening  night  of  "Man  and  Wife"  made 
her  the  talk  of  the  town.  Agnes  Ethel  at  the  last 
moment  had  failed  to  appear.  ]\Iiss  Morris,  who 
had  been  cast  for  the  character  of  Mrs.  Glenarni, 
was  selected  as  a  last  resort,  and  her  part  given 
to  Linda  Dietz.  Her  first  scene  proved  that 
her  powers  of  emotional  expression  were  re- 
markable and  that  her  style  was  wholly  her  own. 
She  was  not  beautiful,  and,  while  her  elocutionary 
method  was  marked  by  astonishing  crudities,  every 
word  she  uttered  was  pregnant  with  meaning ; 
and  although  Anne  Sylvester  is  not  an  attractive 
woman,  her  power  converted  the  sympathies  of 
the  audience. 

Boston  playgoers  saw  "Man  and  Wife"  for  the 
first  time  on  November  14,  1870,  at  the  Boston 
Theatre,  with  Mrs.  D.  P,  Bowers  as  Anne  Sylves- 
ter, J.  C.  McCullom  as  Geoffrey  Delamayn,  C. 
Leslie  Allen  as  Sir  Patrick  Limdie,  and  Mrs. 
Charles  Poole  as  Hester  Dethridge.  At  the  Boston 
IMuseum,  a  fortnight  later,  another  version  was 
brought  out,  with  William  Warren  as  Sir  Pat- 
rick, Charles  Barron  as  Delamayn,  Annie  Clarke 
as  Anne  Sylvester,  and  Mrs.  E.  L.  Davenport  as 
Hester. 

Wilkie  Collins's  own  dramatization  of  "Man  and 


174  P^P^  of  tfjc  5drcj6fcnt» 

Wife"  was  not  produced  until  February  22,  1873, 
when  it  was  played  for  the  first  time  at  the  Prince 
of  Wales's  Theatre  in  London,  under  the  Ban- 
crofts' management.  John  Hare  played  Sir  Pat- 
rick, Charles  Coghlan  was  cast  as  Delamayn,  and 
Lydia  Foote  as  Anne  Sylvester.  Hester  Deth- 
ridge,  the  dumb  landlady,  did  not  appear  in  this 
version. 


The  Marble  Heart,  or  The  Sculptor's  Dream, 
a  drama  in  prologue  and  four  acts  adapted  by 
Charles  Selby  from  MM.  Barriere  and  Thebout's 
drama  of  "Les  Filles  de  Marbre,"  was  produced  at 
the  Adelphi  Theatre  in  London  on  May  22,  1854. 
The  cast  was  as  follows : 

Raphael  Duchatlet  Leigh  Murray. 

Volage  Benjamin  Webster. 

Viscount  Chateaumargaux   Paul  Bedford. 

Monsieur  Vcaudore Charles  Selby. 

Marco    Madame  Celeste. 

Clementine   Miss  Cuthbert. 

Mariette    Emma  Harding. 

Marie   Sarah  Woolgar. 

Madame  Duchatlet Mrs.  Leigh  Murray. 

A  little  over  a  month  after  Benjamin  Webster 
assumed  management  of  the  Adelphi  Theatre,  he 
brought  out  Selby's  adaptation.  The  original  play 
had  created  considerable  furor  in  Paris  upon  its 
performance  in  May  of  the  previous  year,  when  it 
had  been  produced  at  the  Vaudeville  with  Charles 
Fechter  as  the  hero. 


5^iap3ef  of  tjc  JDrciefcnt  17s 

"The  Alarble  Heart"  had  a  very  successful  ca- 
reer at  the  Adelphi,  and  was  praised  moderately 
in  the  press,  the  chief  exceptions  being  taken  to  the 
manner  in  which  the  crucial  scenes  were  prolonged 
beyond  the  point  of  interest,  and  to  the  allegorical 
prologue,  which  was  found  to  have  little  or  no 
relation  to  the  drama  itself.  Mr.  J\Iurray  achieved 
unexpected  distinction  in  the  leading  character, 
and  ]\ladame  Celeste  also  came  in  for  a  good  share 
of  praise.  "While  Mr.  Murray's  acting  is  the 
chief  feature  of  the  new  drama,"  said  the  "Times," 
"Madame  Celeste  makes  the  most  of  a  not  very 
kindly  part.  Her  quiet  manner  of  acting  the  mar- 
ble-hearted lady,  who  sits  in  calm  contemplation  of 
her  lover's  distracted  gestures,  is  as  truthful  as  it 
is  unobtrusive;  and  the  remorse  she  feels  when  at 
last  she  sees  the  dead  body  of  Raphael  is  depicted 
by  a  most  terrific  expression  of  countenance." 

The  character  of  Raphael  was  a  favorite  one 
with  Edwin  Adams  and  Lawrence  Barrett  in  the 
old  stock  days  of  the  American  theatre,  and  almost 
every  actor  of  note  was  at  some  time  or  other 
seen  in  the  drama,  for  it  contained  several  good 
parts  besides  that  of  the  hero.  The  original  Amer- 
ican performance  of  the  play  was  at  the  Metro- 
politan Theatre  in  San  Francisco  in  January,  1855, 
with  the  parts  thus  distributed: 

Raphael Edwin  Booth. 

Viscount  Chatcanmargaux  Henry  Coad. 

Volage  Henry  Sedley. 


1 76  ¥>lap^  of  tfjc  5prc^cnt, 


Marco    Mrs.  C.  N.  Sinclair. 

Clementine   "       Burrill, 

Mariette    Miss  Lane. 

Marie  "     Mowbray. 

On  April  23  of  the  following  year  it  was 
brought  out  in  New  York  at  the  Metropolitan 
Theatre,  with  George  Jordan  as  Raphael,  G.  K. 
Dickinson  as  Volage,  T.  B.  Johnston  as  Chateau- 
mar  ganx,  Laura  Keene  as  Marco,  Ada  Clare  as 
Fedora,  Kate  Reignolds  as  Marie,  and  Mary  Wells 
as  Madame  Duchatlet.  Its  first  performance  in 
Boston,  in  September,  1856,  was  with  Julia  Ben- 
nett Barrow  as  Marco,  Mrs,  John  Wood  as  Marie, 
and  John  Gilbert  as  Volage.  One  of  the  most  fa- 
mous Raphaels  of  his  time  was  John  Wilkes  Booth, 
a  character  in  which  Charles  R.  Thorne,  Jr.,  was 
also  successful,  while  F.  B.  Conway  as  the  sculptor, 
and  Mrs.  Conway  as  Marco,  were  noted  in  their  re- 
spective parts.  Madame  Ponisi  used  to  play  Marco, 
and  John  Brougham  at  one  time  acted  Volage.  Of 
late  years,  Robert  B.  Mantell  has  been  the  only  star 
who  has  essayed  the  character  of  Raphael,  al- 
though in  many  instances  the  local  stock  com- 
panies have  given  the  play  with  satisfactory 
results. 

The  Masoueraders,  a  drama  in  four  acts  by 
Henry  Arthur  Jones,  was  produced  at  the  St. 
James's  Theatre,  London,  on  April  28,  1894,  with 
George  Alexander  as  David  Remon  and  Mrs.  Pat- 


piap^  of  tt^t  ^present,  177 

rick  Campbell  as  Dnlcie  Larondie.  At  the  same 
theatre,  it  will  be  remembered,  ''The  Second  Mrs. 
Tanqueray"  was  brought  out  the  year  previously, 
and  "The  Triumph  of  the  Philistines"  also  saw 
first  light  there,  so  the  St.  James's  may  fairly  be 
entitled  the  home  of  the  so-called  "problem  play." 
After  a  successful  London  season  IMr.  Jones's 
drama  was  taken  for  a  tour  of  the  provinces  by  an 
extra  company.  Its  New  York  season  began  at 
the  Empire  Theatre  on  December  3,  1894,  the 
principal  characters  being  assigned  as  follows : 

David  Remon   Henry  Miller. 

Sir  Bricc  Skene William  Faversham. 

Montagu  Lushington J.  E.  Dodson. 

Eddie  Remon Joseph  Humphreys. 

Hon.  Percy  BlanchHower Robert  Edeson. 

Sir  IVinchmore  Mills,  M.D W.  H.  Crompton, 

Lord  Crandover  Guido  Marburg. 

George  Copeland   R.  Weed. 

Fancourt  Jameson  Lee  Finney. 

Jimmy  Stokes  W.  H.  Thompson. 

Dulcie  Larondie  Viola  Allen. 

Helen  Larondie    Alice  Fischer. 

Charley  Wishanger  Elsie  De  Wolfe. 

Lady  Clarisse  Reindean Ida  Conquest. 

Lady  Crandover  Geneviev^e  Reynolds. 

The  play  was  well  received  by  the  New  York 
theatre-going  public,  and  ran  there  for  several 
months,  although  the  press  was  not  very  enthusi- 
astic in  its  praise.  The  consensus  of  opinion 
seemed  to  be  that  Mr.  Jones's  work  possessed 
much  literary  merit,  but  that  its  situations  were 
theatrical  and  artificial,  with  an  undercurrent  of 
12 


1 78  ^lap^  of  tfjc  ^rcjefcnt* 

pretense  and  insincerity  growing  mainly  out  of 
the  old,  old  story  which  it  told.  "The  Critic," 
to  select  one  opinion  out  of  many,  said  that  it  was 
"nothing  more  nor  less  than  a  drama  of  situation, 
superior  to  most  of  its  class  in  imagination,  work- 
manship and  literary  ability,  but  nevertheless  an 
ordinary  domestic  melodrama,  mainly  dependent 
for  its  success  upon  the  startling  nature  of  its 
incidents." 

During  the  dramatic  season  of  1 895-1 896,  "The 
Masqueraders"  was  presented  in  the  large  cities 
of  the  United  States  by  the  Empire  Theatre  stock 
company. 

A  Message  from  Mars,  a  play  in  three  acts  by 
Richard  Ganthony,  was  produced  at  the  Avenue 
Theatre  in  London  on  November  22,  1899.  Its 
story  is  similar  to  that  of  Dickens's  "A  Christmas 
Carol,"  and  the  play  proved  so  effective  that  it  was 
continued  uninterruptedly  in  London  for  the 
greater  part  of  two  seasons.  The  cast  was  as 
follows : 

Horace  Parker  Charles  Hawtrey. 

A  Tramp   Arthur  Williams. 

Arthur  Dicey C.  M.  Lowne. 

Dr.  Chapman   H.  Stephenson. 

Mr.  Ferguson   E.  W.  Tarver. 

Sir  E.  Vivian  Gayer  Mackay. 

Policeman Lyston  Lyle. 

Servant  L.  Grahame. 

Watchman   H.  Hudson. 

Sir  Roland  Wright G.  Grossmith. 


CHARLES  HAWTRY, 

As  Horace  Parker,  in  Message  from  Mars. 


plap^  of  tjjc  5ptCi5cnt,  179 


Joe  the  Coster H.  Ford. 

Jim  Ernest  Pope. 

''The  Emperor" Master  Harold  de  Becker. 

The  Messenger  from  Mars. .  G.  S.  Titheradge. 

Miss  Parker  Bella  Pateman. 

Mrs.  Clarence  Hilda  Hanbury. 

Bella    Annette  Sharpe. 

Polly    Emily  Spiller. 

A  Flozuer  Girl Sylvia  Lovell. 

A  Poor  Woman Lydia  Rachel. 

Girl    Dorothy  Grahame. 

Minnie  Templer Jessie  Bateman. 

On  October  7,  1901,  at  the  Garrick  Theatre  in 
New  York,  Mr.  Hawtrey  made  his  first  appear- 
ance in  this  country,  presenting  "A  Message  from 
Mars"  for  the  first  time  to  an  American  audience. 
On  that  occasion,  Mr.  Hawtrey  appeared  in  his 
original  role  of  Horace  Parker,  and  the  Tramp  was 
played  by  Robert  Pateman,  Arthur  Dicey  by  E. 
W.  Tarver,  Dr.  Chapman  by  Arthur  Burne,  The 
Messenger  from  Mars  by  H.  Stephenson,  Miss 
Parker  by  Bella  Pateman,  Mrs.  Clarence  by  Flor- 
ence Sinclair,  and  Minnie  Templer  by  Jessie  Bate- 
man. The  play  and  the  star  became  immediately 
popular,  and  the  engagement  continued  at  the 
Garrick  Theatre  until  Saturday  evening,  March 
15,  1902,  when  Mr.  Hawtrey  and  his  company 
returned  to  England. 

Michael  and  His  Lost  Angel,  a  play  in  five 
acts  by  Henry  Arthur  Jones,  was  produced  simul- 
taneously at  the  Lyceum  Theatre  in  London  and  at 
the  Empire  Theatre  in  New  York  on  January  15, 


i8o  S^Iapi^  of  tf)c  ^re^cm. 

1896,  and  ran  for  less  than  two  weeks  on  each  side 
of  the  water.  The  Lyceum  Theatre,  during  Henry 
Irving's  tour  of  this  country,  was  under  the  man- 
agement of  Forbes  Robertson,  who  expected  to 
achieve  great  success  in  the  new  play  which  Mr. 
Jones  had  written  upon  the  old  theme  best  known 
through  "The  Scarlet  Letter."  An  elaborate 
scenic  production  was  provided,  and  the  following 
cast  selected.  Miss  Terry  succeeding  to  the  char- 
acter assigned  to  Mrs.  Patrick  Campbell,  who 
withdrew  just  before  the  rehearsals  were  ended : 

Reverend  Michael  Feversham Forbes  Robertson. 

Sir  Lyolf  FeversJiam  M.  Hathorn. 

Edward  Laslimar Ian  Robertson. 

Andrew  Gibbard   W.  Mackintosh. 

Reverend  Mark  Docwray Joseph  Carne. 

Withycombe    John  Willes. 

Audrie  Lesden   Marion  Terry. 

Rose  Gibbard   Sarah  Brooke. 

Mrs.  Cantelo  Henrietta  Watson. 

Fanny  Clover  Mrs.  E.  H.  Brooke. 

The  play  at  once  aroused  a  very  acrimonious 
discussion,  not  so  much  over  its  artistic  merits, 
as  about  the  right  to  place  upon  the  stage  an  in- 
tensely dramatic  scene  amid  all  the  ceremonial  and 
paraphernalia  of  the  Church  of  England.  The 
contest  was  futile,  however,  neither  side  giving 
way,  and  each  contending  emphatically  that  it  had 
the  only  just  side  of  the  question. 

One  peculiar  outcome  of  the  popular  failure  of 
the  play  is  worth  noting.  In  an  "author's  note" 
to  the  published  version,  Mr.  Jones  states  that  an 


Jpliipsf  of  tftc  IDrcscnt.  iSi 

impression  prevailed  in  the  public  mind  that  the 
piece  was  a  great  financial  failure.  This,  how- 
ever, was  not  the  case,  for  the  receipts  the  ten 
nights  of  its  performance  at  the  Lyceum  Theatre 
were  more  than  £ioo  higher  than  the  receipts  for 
the  first  ten  nights  of  the  very  successful  "Mid- 
dleman." "The  great  number  of  sympathetic  let- 
ters," concludes  Mr.  Jones,  "that  I  have  received 
about  the  play,  and  its  cordial  reception  on  the 
later  nights  of  the  run,  show  that  it  created  a  deep 
impression  on  those  who  did  see  it,  and  encourage 
me  to  hope  that  I  may  introduce -it  again  to  the 
English  public  under  happier  auspices." 

The  cast  of  the  production  in  New  York  at  the 
Empire  Theatre  was  as  follows: 

Reverend  Michael  Feversham Henry  Miller. 

Sir  Lyolf  Feversham  W.  H.  Crompton. 

Edward  Lashmar George  E.  Bryant. 

Andrew  Gibbard   J-  E.  Dodson. 

Reverend  Mark  Docwray  Robert  Weed. 

Withycombe    E.  Y.  Backus. 

Audrie  Lesden  Viola  Allen. 

Rose  Gibbard   Ida  Conquest. 

Mrs.  Cantelo  Mrs.  Annie  Adams. 

Fanny  Clover  Ellen  Gail. 

"Michael  and  His  Lost  Angel"  was  published, 
with  an  introduction  by  Joseph  Knight,  in  the 
spring  of  1896. 

The  Middleman,  a  play  in  four  acts  by  Henry 
Arthur  Jones,  was  produced  at  the  Shaftesbury 


12* 


1 82  pap^  of  tljc  5^re^ciit« 

Theatre  in  London  on  August  27,  1889.    The  cast 
was  as  follows : 

Cyrus  Blcnkarn E.  S.  Willard. 

Joseph  Chandler  W.  Mackintosh. 

Captain  Julian  Chandler Henry  V.  Esmond. 

Batty  Todd Harry  Cane. 

Jesse  Pegg   E.  W.  Garden. 

Sir  Seaton  Umfraville Ivan  Watson. 

Damper    W.  E.  Blatchley. 

Vachell  Royston  Keith. 

Epiphany  Danks  Cecil  Crofton. 

Postman    T.  Sidney. 

Mary Maude  Millett. 

Nancy  Annie  Hughes. 

Mrs.  Chandler  Mrs.  E.  H.  Brooke. 

Maude  Chandler Agnes  Verity. 

Lady  Umfraville  Josephine  St.  Ange. 

Felicia  Umfraville   Eva  Moore. 

"The  best  drama  Mr.  Jones  has  yet  given  to  the 
stage,"  was  the  verdict  of  the  first-night  audience 
that  saw  "The  Middleman."  It  was  seen  that  the 
dramatist  was  capable  of  writing  a  play  original 
in  plot  and  conception  which  could  hold  the  at- 
tention of  his  hearers  from  the  first  scene  to  the 
last,  and  while  some  of  his  characters  were  but 
shadows,  others  were  drawn  with  a  firm,  bold 
hand.  The  author's  tendency  to  discuss  social 
problems  was  shown  occasionally,  but  the  preach- 
ing and  teaching  were  never  tiresome. 

The  cast  of  that  first  performance  contains  two 
names  which  have  become  thoroughly  identified 
with  their  respective  parts  in  both  England  and 
America — E.  S.  Willard,  who  played  Cyrus  Blen- 


g)lap^  of  tf^t  ^rcsfcnt*  183 

karn,  and  Harry  Cane,  who  was  the  Batty  Todd. 
Blcnkarn  is  probably  the  best  character  which  Mr. 
Willard  has  ever  created ;  the  actor  seems  es- 
pecially fitted  to  portray  the  dreamy  enthusiast, 
while  no  one  could  think  of  pushing,  bustling 
Todd,  with  his  glib  speech  and  ready  tact,  with- 
out associating  him  with  Mr.  Cane's  impersonation 
of  the  part. 

The  season  after  its  production  in  London,  ]\Ir. 
Willard  brought  the  play  to  this  country,  where 
it  was  as  enthusiastically  received  as  it  had  been 
at  home.  Since  then,  he  has  given  it  repeatedly 
on  his  visits  here,  but  our  theatre-going  public 
never  wearies  of  it.  Mr.  Willard  was  not  fortu- 
nate in  his  original  choice  of  an  actress  to  play 
the  part  of  Mary,  but  on  his  tours  here  he  has  had 
such  players  as  Marie  Burroughs  and  Maud  Hoff- 
man in  the  part,  and  the  character  has  always  been 
adequately  presented. 

Mrs.  Dane's  Defense,  a  drama  of  modern  life  in 
four  acts  by  Henry  Arthur  Jones,  was  produced 
at  Wyndham's  Theatre  in  London  on  October  9, 
1900,  and  ran  there  until  the  following  May  11, 
the  cast  including  Charles  Wyndham  as  Sir  Dan- 
iel Carteret,  jSIary  Moore  as  Lady  Eastney,  and 
Lena  Ashwell  as  Mrs.  Dane.  On  December  31, 
1900,  it  had  its  first  presentation  in  this  country, 
at  the  Empire  Theatre,  New  York,  and  was  con- 


1 84  3Plap^  of  tl^t  ^rc^mt* 

tinned  at  that  house  the  greater  part  of  the  re- 
mainder of  the  season.  The  original  cast  at  the 
Empire  Theatre  was  as  follows : 

Sir  Daniel  (Mr.  Justice)  Carteret.  Charles  Richman. 

Lionel  Carteret   Joseph  Wheelock,  Jr. 

Canon  Bonsey W.  H.  Crompton. 

Mr.  Biilsom-Portcr E.  Y.  Backus. 

Mr.  James  Risby   Guy  Standing. 

Mr.  Fendick  George  Osbourne,  Jr. 

Adams    Frank  Brownlee. 

Wilson    George  Sylvester. 

Lady  Eastney   Jessie  Millward. 

Mrs.  Dane  Margaret  Anglin. 

Mrs.  Bulsom-Porter  Ethel  Hornick. 

Janet  Colquhonn  Margaret  Dale. 

Although,  perhaps,  no  man  can  hope  to  attain 
in  the  English  drama  what  Thomas  Hardy  has 
reached  in  the  English  novel — the  power  of  dom- 
inating his  characters  by  the  hand  of  fate  alone — 
Mr.  Jones  showed  in  "Mrs.  Dane's  Defense"  that 
he  may  at  least  be  able  to  make  fatality  the  most 
powerful  element  in  his  plays.  It  indicated  a  very 
sudden  and  very  pronounced  artistic  advance  which 
may  before  long  place  him  second  to  none  among 
contemporary  English  dramatists.  Its  theme  was  a 
simple  one,  and  involved  the  efforts  of  a  woman 
with  a  so-called  past  to  rehabilitate  herself  in  Eng- 
lish society.  The  story  was  told  straightforwardly 
and  with  exceptional  dramatic  power,  the  third  act 
being  especially  striking  both  in  its  conception 
and  development.  The  entire  play  was  distinctly 
Mr.  Jones's  greatest  achievement,  with  the  possible 
exception  of  "Michael  and  His  Lost  Angel." 


plap^  of  t|)c  present.  185 

When  the  Empire  Theatre  stock  company  began 
its  tour  at  the  opening  of  the  season  of  1901-1902, 
the  cast  differed  somewhat  from  that  of  the  open- 
ing performance  just  recorded.  George  Cooper  re- 
placed ]\Ir.  Wheelock  as  Lionel  Carteret,  Stanley 
Dark  appeared  as  Mr.  James  Risby,  Ethel  Hornick 
as  Lady  Eastney,  and  Mrs.  Charles  W.  Brooke  as 
Mrs.  Bulsom-Porter. 

IMiSTRESS  Nell,  a  romantic  drama  in  four  acts 
by  George  C.  Hazleton,  was  produced  in  Denver 
on  June  3,  1900,  and  on  the  ninth  of  the  following 
October  it  was  brought  out  at  the  Bijou  Theatre 
in  New  York.    The  cast : 

King  Charles  II Aubrey  Boucicault. 

James,  Duke  of  York James  A.  Keene. 

Duke  of  Buckingham  Geoffrey  Stein. 

Earl  of  Rochester Herman  Herschberg. 

Jack  {Charles)  Hart Hallett  Thompson. 

Strings   William  Herbert. 

Dick    Theodore  Thompson. 

Swallow  Edward  Fowler. 

Buzzard    James  F.  Jennings. 

Landlord    T.  J.  McCarthy. 

Officer  Louis  F.  Mintz. 

Page    Clara  Lima. 

Lady  Hamilton  Flora  Morgan. 

Louise,  Duchess  of  Portsmouth  . .  Adelaide  Fitzallen. 

Moll    Nellie  Hancock. 

Nell  Gwynn  Henrietta  Crosman. 

On  October  29  it  was  transferred  to  the  Savoy 
Theatre,  and  ran  there  for  several  months,  Robert 
Edeson  replacing  Mr.  Boucicault  as  the  King  for  a 


1 86  pap^  of  t|)c  ^tCjBfcnt 

short  period.  After  engagements  in  Boston  and 
other  cities,  it  returned  to  New  York  on  April 
29,  1901,  for  a  reopening  at  Wallack's  Theatre, 
During  the  season  of  1901-1902,  at  the  Theatre 
Republic  in  New  York  and  elsewhere,  "Mistress 
Nell"  formed  one  of  the  plays  in  Miss  Crosman's 
repertory,  the  cast  including  Henry  Woodruff  as 
King  Charles  II,  Addison  Pitt  as  the  Duke  of  York, 
George  Soule  Spencer  as  the  Duke  of  Buckingham, 
John  Malone  as  Charles  Hart,  and  Adele  Block 
as  the  Duchess  of  Portsmouth. 

The  Money  Spinner,  a  drama  in  two  acts  by 
Arthur  W.  Pinero,  was  produced  at  the  Prince's 
Theatre  in  Manchester,  England,  on  November  5, 
1880,  by  William  Duck's  traveling  company;  and 
although  the  cast  was  not  especially  noteworthy, 
a  new  play  by  Pinero  was  enough  of  an  event  to 
send  from  London  several  of  the  most  prominent 
critics,  who  eagerly  telegraphed  back  the  news  of 
its  great  success.  It  was  seen  at  once  that  it  would 
prove  in  every  way  suited  to  the  playgoers  of  the 
metropolis,  and  on  January  8,  1881,  it  was  given  at 
the  St.  James's  Theatre,  London,  by  one  of  the  best 
companies  ever  brought  together  in  that  city.  The 
complete  cast  was  as  follows : 

Lord  Kengussie  W.  H.  Kendal. 

Baron  Croodlc  John  Hare. 

Harold  Boycott  John  Clayton. 

Jules  Faubert  W.  Mackintosh. 


HENRIETTA  CROSMAN, 

As  Nell  Gwynn,   in   Mistress  Nell. 


piapi^  of  tfjc  ^rci^cnt,  i  s  7 


Porter  Mr.  De  Verney. 

MilUcent  Boycott    Mrs.  Kendal. 

Dorinda  Croodle  Kate  Phillips. 

Margot   Mrs.  Gaston  Murray. 

London  received  the  play  with  unprecedented 
enthusiasm.  The  players  were  all  seen  at  their 
best.  ]\Irs.  Kendal  was  affectionate  and  womanly 
as  the  wife  who  is  tempted  to  do  an  unwomanly 
thing;  Mr.  Kendal  made  a  chivalrous  Lord  Ken- 
gussie;  Mr.  Clayton  gave  a  life-like  portraiture 
of  the  pale-faced,  terror-haunted  man  who  had 
proved  unfaithful  to  his  trust,  and  Mr.  Mackintosh 
was  excellent  as  the  detective  bent  on  running 
down  his  victim  at  any  cost.  But  the  greatest  im- 
personation of  all  was  Mr.  Hare's  Baron  Croodle, 
a  diverting  study,  charged  with  true  humor  and 
the  spirit  of  the  finest  and  most  seductive  carica- 
ture. 

American  playgoers  had  to  wait  nearly  ten 
years  before  the  Kendals  brought  the  play  to  this 
country,  when  they  included  it  in  their  repertory 
for  a  season. 

Monsieur,  a  domestic  sketch  in  three  acts  by 
Richard  Mansfield,  was  produced  at  the  Madison 
Square  Theatre  in  New  York  on  July  ii,  1887, 
with  the  following  cast : 

Alice   Beatrice  Cameron. 

Mrs.  Elizabeth  Ann  Golden  . .  Mrs.  Josephine  Laurene. 
Mrs.  Mary  Pettygow Anne  O'Neill. 


i88  Papief  of  tfje  ^tc^sfcnt 


Mrs.  Morton Helen  Gliddon. 

Sally   Miss  Johnstone  Bennett. 

Tom  Vanderhuysen  John  T.  Sullivan. 

Ezra  J.  Golden D.  H.  Harkins. 

Morton  Saunders  Joseph  Frankau. 

Popples    Harry  Gwynette. 

Hon.  Charles  Mt.  Vernon John  Parry. 

Andre  Rossini  Mario  de  Jabot  Richard  Mansfield. 

Mr.  Mansfield's  play  was  constructed  to  fit  him- 
self as  a  star,  and  in  its  way  was  remarkably  good. 
It  proved  at  once  the  actor's  versatility  as  a  play- 
wright, a  musical  composer,  a  singer,  and  a  come- 
dian. Despite  the  natural  temptation  to  give  him- 
self all  the  good  things,  he  generously  divided  the 
honors  among  his  whole  company,  with  the  result 
that  one,  at  least, — Miss  Bennett, — made  a  success 
that  almost  overshadowed  that  of  the  star.  Some 
of  the  events  of  the  story  were  improbable,  and 
one  or  two  of  the  characters  depicted  were  ex- 
aggerated far  beyond  reason ;  but  it  was  a  pleasing 
play,  finely  acted,  and  certainly  added  greatly  to 
the  author-actor's  reputation.  In  make-up  Mr. 
Mansfield  was  the  living  picture  of  a  proud  and 
impecunious  young  Frenchman,  and  gave  the  lines 
of  the  poor  music-teacher  with  a  sincerity  rarely 
found  in  this  style  of  drama,  while  his  singing  and 
playing  delighted  the  audience. 

Boston  saw  the  new  play  early  the  next  year, 
as  it  was  brought  out  at  the  Globe  Theatre  on 
January  27,  1888,  and  in  May  it  was  given  at  the 
Museum.  Of  late  years,  Mr.  Mansfield  has 
dropped  this  piece  from  his  repertory,  although 


plap^  of  t^t  ^tc^cnu  189 

it  would  doubtless  prove  attractive  should  he  de- 
cide to  revive  it. 

Monsieur  Alphonse,  a  drama  by  Alexandre 
Dumas  fils,  was  produced  at  the  Gymnase  Dra- 
matique,  Paris,  on  November  26,  1873,  with  the 
followins:  cast : 


*s> 


Montaiglin   M.  Pujol. 

Octave M.  Frederic  Achard. 

Remy    M.  Martin. 

Dieudonnc    M.  Dalbert. 

Raymondc    Mme.  Pierson. 

Mme.   Gtiichard    "       Alphonsine. 

Adrienne  "    "  Lody. 

The  original  title  of  the  play  in  the  mind  of 
Dumas  was  "Monsieur  Jules,"  but  when  Jules  San- 
deau  heard  of  it  he  besought  the  author  not  to  lay 
such  a  stigma  upon  his  hitherto  honorable  name. 
Wishing  to  oblige  his  friend,  Dumas  changed  the 
title  to  "Monsieur  Octave,"  but  thereupon  Octave 
Feuillet  arose  and  offered  the  same  objection  that 
Jules  Sandeau  had  brought  forward.  So  the 
obliging  Dumas  made  another  change  and  called 
his  play  "Monsieur  Alphonse."  Another  com- 
plaint was  heard  from  the  Baron  Alphonse  de 
Rothschild,  but  the  dramatist  this  time  was  not 
inclined  to  give  in.  He  simply  turned  to  the  baron 
and  said  gracefully :  "If  ever  any  one  accuses 
you  of  receiving  money  from  women,  well,  then 
you  may  be  assured  that  my  title  shall  be  changed. 
Until  then  there  is  no  need  of  it." 


190  paji^sf  of  tfjc  ^rcjsfcnt 


When  "Monsieur  Alphonse"  was  published, 
Dumas  wrote  a  preface  which  is  much  longer  than 
the  play  itself,  in  which  he  discusses  at  great 
length  and  with  minute  elaboration  the  impor- 
tant social  problem  of  which  "Monsieur  Alphonse" 
is  the  exposition.  This  preface,  indeed,  would 
stand  by  itself,  without  any  regard  to  the  play 
which  it  uses  as  a  text,  as  a  momentous  contribu- 
tion to  the  study  of  one  phase  of  the  problem  of 
sex  relations.  The  play  and  the  preface,  in  them- 
selves, form  a  part  of  the  strenuous  attack  Dumas 
was  constantly  making  upon  the  French  laws  of 
marriage  and  divorce,  which  he  finally  succeeded 
in  altering  for  the  better. 

"Monsieur  Alphonse,"  in  English,  and  bearing 
the  original  title,  was  brought  out  in  this  country 
at  Augustin  Daly's  Fifth  Avenue  Theatre,  in  New 
York,  on  April  14,  1874.  The  version  bore  Mr. 
Daly's  name  as  its  adapter,  and  differed  in  some 
degree  from  the  original,  especially  in  bringing 
upon  the  stage  the  two  peasant  guardians  of 
Adrienne,  who  are  only  referred  to  by  Dumas. 
The  cast  was : 

M.  Alphonse George  Clarke. 

Montaiglin  Charles  Fisher. 

Jovin  James  Lewis. 

Reniy  Frank  Hardenbergh. 

Raymonde   Ada  Dyas. 

Mme.  Guichard   Fanny  Davenport. 

Manon    Mrs.  G.  H.  Gilbert. 

Bonette  Nina  Varian. 

Adrienne    Bijou  Heron. 


^\ap^  of  ttjc  5prcj^ntt  191 

When  Mr.  Daly  revived  "Monsieur  Alphonse" 
a  year  later,  George  Parkes  succeeded  Mr.  Clarke 
as  Alphonse,  D.  H.  Harkins  played  Montaiglin, 
and  Ada  Dyas  appeared  as  Raymonde.  In  later 
years,  Clara  Morris  included  "Monsieur  Alphonse" 
in  her  repertory,  under  the  title  of  "Raymonde." 

My  Partner,  a  play  in  four  acts  by  Bartley 
Campbell,  was  produced  at  the  Union  Square 
Theatre  in  New  York  on  September  i6,  1879. 
The  cast  was  as  follows : 

Joe  Saunders   Louis  Aldrich. 

Ned  Singleton   Henry  Crisp. 

Wing  Lee C.  T.  Parsloe. 

Major  Henry  Clay  Britt  Frank  Mordaunt. 

Matthew  Branden  Harry  Edwards.  , 

Josiah  Scraggs  J.  W.  Hague. 

Sam  Bowler  J.  H.  Burnett. 

JVcllington  Widgery Charles  Webster, 

Jim  Johnson  John  Dailey. 

Mary  Branden   Maude  Granger. 

Grace  Branden  Minnie  Palmer. 

Miss  Posie  Pcntland  Alice  Grey. 

"My  Partner"  has  proved  the  most  popular  of 
Mr.  Campbell's  plays,  for  it  still  attracts  crowds 
at  the  stock-company  houses  where  it  is  given,  and 
is  likely  to  do  so  for  some  years  to  come.  It 
depicts  the  rough-and-ready  life  of  the  West  at  a 
time  when  a  California  mining  camp  was  a  syn- 
onym for  anything  but  gentleness  and  refinement ; 
and  the  fact  that  the  drama  was  so  intensely 
"American"  accounts  for  a  measure  of  its  success. 


192  ^lap^  of  tf)c  5^tc^cnt» 

On  its  first  production,  the  actors  employed  were 
among  the  best  in  the  country,  so  that  even  a  poor 
play  would  have  had  some  chance  in  their  hands. 
Mr.  Aldrich  as  Joe  Saunders,  and  Mr.  Parsloe  as 
the  Chinaman,  made  the  conspicuous  hits  of  that 
production,  and  later  Mr.  Aldrich  starred  in  the 
part  which  he  had  created. 


Nathan  Hale,  a  romantic  drama  in  four  acts  by 
Clyde  Fitch,  was  produced  at  Hooley's  Theatre 
in  Chicago  on  January  31,  1898,  and  after  per- 
formances in  many  of  the  principal  American 
cities,  it  was  brought  out  in  New  York,  at  the 
Knickerbocker  Theatre,  on  January  2,  1899,  the 
cast  being  as  follows  : 

Nathan  Hale N.  C.  Goodwin. 

Guy  Fitzroy   William  Ingersoll. 

Lieutenant-Colonel  Knowlton  ....  Thom.\s  Oberle. 

Captain  Adams   Clarence  Handyside. 

CunningJiam    Neil  O'Brien. 

Ebenezer  Lebanon Thurlow  Bergen. 

Tom  Adams  Richard  Sterling. 

William  Hull  S.  M.  Hall. 

The  Jefferson  boy Master  Ralph. 

The  Talbot  boy  Henry  Lewis. 

Jasper  Frank  Mayne. 

Sentinel    Charles  Budd. 

Alice  Adams Maxine  Elliott. 

Mistress  Knowlton  Estelle  Mortimer. 

Angelica  Knowlton   Gertrude  Elliott. 

The  Widow  Chichester Hattie  Russell. 

Mr.    Fitch   was   daring   enough   to   follow   the 
records  of  history,  and  thereby  give  his  play  a 


^plapsf  of  tf)c  g)rc^ntt.  193 

tragic  ending.  It  proved  very  popular  with  New 
York  theatre-goers  and  remained  at  the  Knicker- 
bocker Theatre  for  a  period  of  several  months. 
After  Mr.  Goodwin  was  through  with  it,  the  rights 
for  the  smaller  theatrical  centres  were  secured  bv 
Mr.  W.  M.  Wilkison,  and  it  was  performed  with 
Howard  Kyle  and  Nannette  Comstock  in  the  lead- 
ing roles. 

"Nathan  Hale"  was  published  in  New  York  in 
1900,  by  R.  H.  Russell. 

The  Notorious  Mrs.  Ebbsmith,  a  drama  of 
modem  life  by  Arthur  W.  Pinero,  was  produced 
at  the  Garrick  Theatre,  London,  on  March  13, 
1895.    The  cast: 

Duke  of  Si.  Olpherts John  Hare. 

Sir  Sandford  Cleeve  Ian  Robertson. 

Lucas  Cleeve  Forbes  Robertson. 

Rev.  Amos  Winterficld C.  Aubrey  Smith. 

Sir  George  Brodrick  Joseph  Carne. 

Dr.  Kirke   Fred  Thorne. 

Fortune    Gerald  Du  Maurier. 

Antonio  Poppi C.  F.  Caravoglia. 

Agnes  Mrs.  Patrick  Campbell. 

Gertrude  Thorpe Ellis  Jeffreys. 

Sybil  Cleeve  Eleanor  Calhoun. 

Nella  Mary  Halsey. 

Hepzibah   Mrs.  Charles  Groves. 

In  May,  Mrs.  Patrick  Campbell  retired  from 
the  cast  and  was  succeeded  by  Miss  Olga  Nether- 
sole  in  the  title  character.  George  Bernard  Shaw 
did  not  like  the  substitution,   saying  that   Miss 

13 


194  5^!^^?^  of  tfjc  5^rc^nit. 

Nethersole  failed  to  touch  the  character  of  Agnes 
in  any  point.  John  Hare's  Duke  of  St.  Olpherts 
was,  of  course,  universally  commended,  but  his 
acting  could  not  save  the  play  from  the  disaster 
brought  upon  it  by  the  melodramatic  Bible-burn- 
ing scene  and  an  incoherent  last  act. 

When  John  Hare  made  his  first  appearance  in 
America,  at  Abbey's  Theatre  in  New  York,  on 
December  22,,  1895,  "The  Notorious  Mrs.  Ebb- 
smith"  was  the  play,  cast  as  follows : 

Duke  of  St.  Olpherts John  Hare. 

Sir  Sandford  Cleeve Eugene  Mayeur. 

Lucas  Cleeve  Fred  Terry. 

Rev.  Amos  IVinterfield  C.  Aubrey  Smith. 

Sir  George  Brodrick Charles  Rock. 

Dr.  Kirke  Fred  Thorne. 

Fortune Prince  Lloyd. 

Antonio  Poppi Charles  Caravoglia. 

Agnes    Julia  Neilson. 

Gertrude  Thorpe  Ellis  Jeffreys. 

Sybil  Cleeve   Mina  Le  Bert. 

Nella   Helen  Luck. 

Hepzihah    Mrs.  Charles  Groves. 

Mrs.  Patrick  Campbell  acted  the  title  character 
occasionally  during  her  tour  of  the  United  States 
in  1901-1902,  but  no  other  actress  of  note  has 
attempted  it  in  this  country.  Miss  Nethersole, 
perhaps  fortunately,  did  not  add  it  to  her  Ameri- 
can repertory.  In  England  the  part  has  also  been 
played  by  Miss  Cynthia  Brooke. 

The  Octoroon,  a  drama  in  five  acts  by  Dion 
Boucicault,  was  produced  at  the  Winter  Garden 
in  New  York  on  December  5,  1859,  with  this  cast : 


$)lap^  of  tf)c  ^rcje^ntt*  1 9  5 


Salem  Scndder Joseph  Jefferson. 

Sunnyside    George  Holland. 

George  Peyton  A.  H.  Davenport. 

Lafourche    J.  H.  Stoddart. 

IVah-no-fee   Dion  Boucicault. 

Captain  Raffs  H.  Pearson. 

Pete  George  Jamieson. 

Paul    loNE  Burke. 

Zoe Agnes  Robertson. 

Dora  Sunnyside Mrs.  J.  H.  Allen. 

Mrs.  Peyton  "       Blake. 


tf 


'The  Octoroon"  showed  that  as  a  master  of 
stage-craft  its  clever  author  had  few  equals.  It 
dealt  with  life  in  the  South,  and  with  a  subject 
which  at  that  time  was  a  most  dangerous  one  to 
touch — slavery;  and  some  of  the  actors  deemed 
it  unwise,  if  not  culpable,  to  appear  in  such  a  piece. 
But  the  shrewd  dramatist  was  wise  enough  not  to 
take  sides  too  strongly,  and  made  his  play  as  non- 
committal as  possible.  It  created  one  of  the 
greatest  theatrical  sensations  of  the  season,  and 
proved  wonderfully  successful.  Such  scenes  as 
the  slave  sale,  the  burning  of  the  steamer  Magno- 
lia, the  trial  of  the  Indian  for  murder  and  the 
fight  with  knives,  were  not  common  in  the  dramas 
of  that  generation,  and  the  house  was  crowded 
night  after  night.  Southerners  visiting  the  me- 
tropolis were  anxious  to  see  how  life  in  their 
section  was  pictured,  and  could  find  small  cause 
to  complain  that  the  dramatist  had  not  treated 
them  fairly.  It  is  a  curious  insight  into  the  views 
regarding  slavery  held  at  that  time  in  this  country 
and  England  to  note  the  differing  denouements 
of  this  drama  as  determined  by  its  production, 


196  $^Iap^  of  tljc  ^tc^cnu 

geographically.  Here  Zoe,  the  octoroon  girl,  died 
in  the  last  act;  to  have  wedded  her  to  George 
Peyton  would  have  been  to  invite  failure;  in 
England  the  play  ended  happily,  as  the  audience 
there  could  accept  the  marriage  of  the  young 
Southerner  of  good  birth  to  a  slave  girl  as  per- 
fectly proper,  and  see  nothing  unusual  in  such  an 
ending. 

The  new  play  reached  Boston  the  next  month, 
and  on  January  16,  i860,  was  brought  out  at  the 
Howard  Athenaeum,  with  Dan  Setchell  as  Salem 
Scudder,  Frank  Hardenbergh  as  Pete,  E.  L.  Dav- 
enport as  Wah-no-tee,  W.  J.  Le  Moyne  as  La- 
fourche, D.  Hanchett  as  Captain  Ratts,  Mrs.  W. 
H.  Smith  as  Dora  Sunnyside,  Fanny  Price  as 
Jules,  and  Mrs.  Hanchett  as  the  negress  Dido. 
The  last  named  was  the  sister  of  William  Warren, 
who  lost  her  first  husband  while  her  daughter, 
Fanny  Bayard  Price,  was  yet  a  baby.  She  after- 
ward married  Mr.  Hanchett,  who  devoted  him- 
self to  making  Miss  Price  a  star.  Meanwhile, 
members  of  the  company  which  had  been  playing 
at  the  Bowery  Theatre  in  New  York  came  to  the 
National  Theatre  in  Boston  and  gave  the  play, 
with  G.  L.  Fox  as  Salem  Scudder,  G.  C.  Boniface 
as  Wah-no-tee,  Fanny  Herring  as  Dora,  Mrs.  W. 
G.  Jones  as  Zoe,  and  Marie  Bates  as  Paul.  Others 
who  have  since  appeared  from  time  to  time  in 
the  play  are  Kate  Reignolds,  who  acted  Zoe,  Wil- 
liam Warren  and  John  B.  Mason  as  Salem  Scudder, 


pia0  of  rt)c  prc^mt.  197 

Joseph  Wheelock  as  Jacob  McCloskey,  Emily 
Mestayer  as  Mrs.  Peyton,  INIrs.  J.  H.  Stoddart  as 
Dora,  and  James  S.  ]\£affitt,  the  pantomimist,  as 
the  Indian.  It  is  curious  to  think  of  a  part  which 
E.  L.  Davenport,  one  of  the  greatest  of  American 
actors,  thought  worthy  of  his  powers,  coming  at 
last  to  be  acted  by  a  pantomimist. 

The  play  was  based  on  one  of  ]\Iayne  Reid's  nov- 
els, and  has  held  the  stage  much  longer  than  most 
versions  of  popular  stories.  At  the  time  of  its  first 
successful  run  in  Boston,  at  the  Howard  Athe- 
naeum, the  question  arose  as  to  -whether  or  not 
the  managers  of  the  National  Theatre  had  the 
right  to  produce  it,  and  the  play  becam.e  the  sub- 
ject of  extended  litigation.  In  the  course  of  the 
proceedings,  it  developed  that  Mr.  Davenport  had 
paid  the  author  a  royalty  of  twenty  dollars  for 
each  performance;  and  while  some  of  the  points 
raised  were  of  great  interest  to  managers,  and 
it  was  hoped  that  the  judges  would  decide  them, 
the  whole  matter  was  finally  decided  to  be  a  ques- 
tion of  copyright,  and  went  to  the  Supreme  Court 
on  that  question  alone. 

Oliver  Goldsmith,  a  comedy  in  three  acts  by 
Augustus  Thomas,  was  produced  at  the  Empire 
Theatre  in  Albany,  New  York,  on  November  30, 
1899.  After  three  months  on  the  road,  it  reached 
New  York  City  on  Alarch  19  of  the  following  year, 
and  was  given  at  the  Fifth  Avenue  Theatre,  with 

13* 


1 98  pap^  of  t!)c  ^rc^cnt* 

this   cast,    which   contained   practically   the   same 
players  who  were  seen  at  Albany: 


Mr.  Boswell  Beaumont  Smith. 

Mr.  Featherstone Edward  Dodge. 

Roger    Walter  Clews. 

Catherine  Horneck  Ellen  Mortimer. 

Mrs.  Featherstone Jeffreys  Lewis. 

Mary  Horneck  Florence  Rockwell. 

Edmund  Burke  Walter  Hale. 

Dr.  Samuel  Johnson H.  A.  Weaver,  Sr. 

David  Garrick   Henry  E.  Dixey. 

Captain  Horneck    Clifford  Leigh. 

Mr.  Kendrick  Ogden  Stevens. 

Oliver  Goldsmith Stuart  Robson. 

Property  Man Charles  Lemmert. 

Leader  of  Orchestra F.  C.  Gordon. 

Prompter   Martin  Sounds. 

Mr.  Cohnan Joseph  P.  Winter. 

Tony  Lumpkin O.  E.  Hallam. 

Mr.  Drummond  Bert  Washburn. 

Little  Annie   Ricca  Scott. 

Little  Mary  Monica  Harris. 

Mrs.  Higgins  Bessie  Scott. 

Mr.  Tzvitch  Henry  E.  Dixey. 

Mr.  Flannigan  James  Grant. 

Biff    Charles  E.  Long. 


Mr.  Thomas's  play  was  founded  on  certain  in- 
cidents in  the  life  of  Goldsmith,  and  introduced 
characters  which  were  familiar  to  all  students  of 
English  literature.  Dr.  Johnson,  Burke,  Garrick, 
and  Boswell  proved  no  less  entertaining  on  the 
stage  than  in  the  pages  of  history.  The  incident 
on  which  the  poet  himself  founded  his  play  of 
"She  Stoops  to  Conquer,"  the  mistake  of  taking 
a  private  house  for  a  tavern,  was  used  as  the 


Pap^  of  ttjc  JDrcjScitt,  199 

basis  of  the  first  act,  and  served  to  bring  Gold- 
smith into  the  company  of  the  people  of  the  play 
in  a  natural  and  interesting  way.  The  second  act 
took  place  on  the  stage  of  Covent  Garden  Theatre 
during  a  rehearsal  of  "She  Stoops  to  Conquer," 
and  was  a  good  picture  of  the  inner  workings  of 
a  playhouse,  while  the  third  act  showed  Goldsmith 
in  his  garret,  hounded  by  bailiffs.  Mary  Horneck 
was  the  heroine,  and  Mr.  Thomas  departed  so  far 
from  historical  truth  as  to  wed  her  to  the  author 
of  "The  Deserted  Village." 

The  chief  merit  of  the  piece  was  the  accuracy 
with  which  the  dramatist  drew  the  historical  char- 
acters whom  he  had  chosen  to  work  out  his  story, 
and  as  a  picture  of  Goldsmith,  his  friends  and  his 
times,  it  was  interesting  and  entertaining.  The 
poet  himself  was  sketched  with  a  great  deal  of 
skill,  his  peculiar  nature  being  clearly  indicated. 
The  dialogue  was  bright,  many  of  the  speeches 
having  been  taken  from  the  pages  of  Boswell ;  but 
the  plot  was  rather  indefinite,  and  was  really  a 
collection  of  incidents  about  well-known  people. 
To  any  one  read  in  the  literature  of  the  time  of 
Dr.  Johnson,  the  play  was  one  of  the  most  de- 
lightful entertainments  which  Mr.  Thomas  has 
ever  offered. 

Mr.  Robson  was  well  fitted  with  the  part  of  the 
kind-hearted,  good-natured,  blundering,  absent- 
minded  poet,  and  Air.  Weaver  gave  a  photographic 
representation  of  Dr.  Johnson  that  was  marvellous. 


200  5plap^  of  t!)c  ^rcjscnt 

the  result  of  a  faithful  study  of  Boswell's  immortal 
work. 

Olivia,  a  drama  by  William  Gorman  Wills, 
founded  on  'The  Vicar  of  Wakefield,"  was  pro- 
duced at  the  Court  Theatre  in  London  on  March 
30,  1878,  the  cast  being  as  follows : 

Dr.  Primrose  Hermann  Vezin. 

Moses   Norman  Forbes. 

Dick    Miss  L.  Neville. 

Bill    Kate  Neville. 

Mr.  Burchcll Frank  Archer. 

Squire  Thornhill  William  Terriss. 

Leigh Mr.  Denison. 

Farmer  Flamborough R.  Cathcart. 

Schoolmaster    Mr.  Franks. 

Mrs.  Primrose  Mrs.  Gaston  Murray. 

Olivia    Ellen  Terry. 

Sophia Kate  Aubrey. 

Polly  Flamborough Miss  M.  Cathcart. 

Phoebe   "     K.  Nichols. 

Sarah    "      Turtle. 

Gipsy   Woman   "      Neville. 

On  May  28,  1885,  "Olivia"  was  first  given 
under  Mr.  Irving's  management,  and  his  Dr. 
Primrose  soon  became  one  of  his  most  famous 
impersonations.    The  cast  was : 

Dr.  Primrose Henry  Irving. 

Moses   Norman  Forbes. 

Squire  Thornhill  William  Terriss. 

Mr.  Burchell  Thomas  N.  Wenman. 

Leigh  Frank  Tyars. 

Farmer  Flamborougli Henry  Howe. 

Polly  Flamborough Miss  Coleridge. 

Phoebe    "     Mills. 


^\ap^  of  tf^t  JDrc^cnt,  201 


Gipsy  Woman Miss  Barnett. 

Mrs.  Primrose   "      L.  Payne. 

Dick  "      F.  Holland. 

Bill. "      M.Holland. 

Sophia  Winifred  Emery. 

Olivia    Ellen  Terry. 

"Olivia,"  however,  had  been  seen  in  this  coun- 
try long  before  Mr.  Irving's  revival.  It  was  pro- 
duced at  the  Boston  Museum,  on  September  9, 
1878,  with  William  Warren  as  the  Vicar,  Annie 
Clarke  as  Olivia,  Joseph  Haworth  as  Burchell, 
Mr.  Crisp  as  Thornhill,  Mrs.  Vincent  as  Mrs. 
Primrose,  and  Marie  Wainwright  as  Sophia.  Not 
until  his  third  tour  of  America  did  Mr.  Irving  pre- 
sent "Olivia"  to  American  audiences.  This  was 
in  1887-1888,  with  George  Alexander  as  Thorn- 
hill,  Mr.  Wenman  as  Burchell,  Mr.  Haviland  as 
Moses,  and  Winifred  Emery  as  Sophia. 

Our  American  Cousin,  a  comedy  in  three  acts 
by  Tom  Taylor,  was  produced  at  Laura  Keene's 
Theatre  in  New  York  on  October  18,  1858.  The 
cast  was : 

Asa  Trenchard  Joseph  Jefferson. 

Lord  Dundreary E.  A.  Sothern. 

Sir  Edward  Trenchard Edwin  Varrey. 

Lieutenant  Vernon Milnes  Levick. 

Captain  De  Boots Mr.  Clinton. 

Coyle    J.  G.  Burnett. 

Abel  Murcott C.  W.  Couldock. 

Binney  Charles  Peters. 

Buddicombe   Mr.  McDougal. 

Florence  Trenchard Laura  Keene. 


202  Papjsf  of  tljc  ^te^mt 

Mrs.  Mountchessington  Mary  Wells. 

Augusta    Effie  Germon. 

Georgiana  Mrs.  Sothern. 

Mary  Meredith  Sara  Stevens. 

Sharp  Miss  Flynn. 

Skillett Mrs.  Levick. 

While  Laura  Keene  was  getting  up  a  revival  of 
"A  Midsummer  Night's  Dream,"  her  scene-paint- 
ers and  mechanics  disappointed  her,  and  she  found 
that  she  must  put  on  some  play  for  a  fortnight  to 
fill  the  gap  till  the  Shakespearian  piece  should  be 
ready.  Tom  Taylor,  an  English  dramatist,  who 
was  ignorant  of  America,  its  manners,  customs, 
or  the  idiosyncrasies  of  its  people,  excepting  what 
he  had  gathered  from  casual  reading,  had  sent  to 
this  country  a  comedy,  or,  more  strictly  speaking, 
a  farce  with  serious  incidents,  for  which  he  hoped 
to  find  a  market.  When  the  play  was  offered  to 
Lester  Wallack  and  his  father,  the  former  imme- 
diately suggested  that  it  be  shown  to  Miss  Keene, 
arguing  that  the  title  role  required  a  great  Yankee 
character  actor,  and  that  Joseph  Jefferson,  then  a 
member  of  Miss  Keene's  company,  was  just  the 
man  for  the  part.  That  actress  took  the  play  and 
laid  it  aside,  not  seeing  in  it  any  special  merit,  and 
it  was  not  till  she  needed  something  for  a  fort- 
night's run  that  she  thought  of  the  English  drama- 
tist's work. 

From  the  first  there  was  trouble  in  casting  the 
new  play.  William  Rufus  Blake  positively  re- 
fused the  part  of  Binney,  the  butler,  so  that  was 


5plapsf  of  tj)c  5prc^cnt,  203 


given  to  Charles  Peters.  E.  A.  Sothern,  on  finding 
that  he  was  expected  to  play  Lord  Dundreary,  a 
part  of  some  forty  lines,  returned  it  to  Miss  Keene, 
saying  that  he  could  not  possibly  consent  to  under- 
take a  thing  of  that  sort.  Not  knowing  what  to  do, 
and  fearing  that  the  piece  was  weak,  the  poor  wo- 
man appealed  to  Sothern's  generosity  and  asked 
him  to  accept  the  part  as  a  matter  of  loyalty  to  her. 
The  actor  at  last  consented  to  do  so  if  she  would 
allow  him  to  "gag"  it.  "Do  anything  yovi  like  wuth 
it,  only  play  it,"  was  the  despairing  answer.  All 
the  world  knows  the  sequel.  Dressed  in  a  long 
coat  lent  by  John  Brougham,  who  had  borrowed 
it  from  Lester  Wallack  after  the  latter  had  worn 
it  in  the  character  of  the  Debilitated  Cousin  in  a 
version  of  "Bleak  House,"  Sothern  made  but  lit- 
tle impression  the  first  night ;  few  of  the  critics 
mentioned  him.  But  as  the  play  went  on,  week 
after  week,  new  lines  w^ere  added,  new  business 
introduced  for  the  foolish  nobleman,  and  finally 
all  New  York  was  talking  of  the  clever  imperson- 
ation which  later  was  to  bring  him  a  great  for- 
tune and  world-wide  fame,  although  the  version 
of  the  piece  which  Sothern  afterward  used  was 
little  more  than  a  monologue  of  Dundreary  isms, 
and  hardly  recognizable  as  Tom  Taylor's  work. 
The  new  play  proved  an  immense  success ;  the 
two  weeks  originally  allotted  it  were  extended ;  for 
one  hundred  and  forty  nights  it  drew  crowded 
houses.    Jefferson's  simplicity  and  truthfulness  as 


204  S^Jap^  of  tf)c  ^re^mt* 

Asa  Trenchard  were  admirable,  and  his  success 
established  his  position  in  the  metropolis.  Miss 
Keene  afterward  starred  as  Florence  Trenchard, 
and  was  playing  this  heroine  at  Ford's  Theatre 
when  Lincoln  was  assassinated.  One  of  the  hits 
of  the  evening  was  made  by  Couldock  as  the  faith- 
ful but  fallen  attorney's  clerk,  while  Peters  was 
especially  successful  in  the  part  which  Blake  had 
refused. 


Ours,  a  comedy  in  three  acts  by  Thomas  W.  Rob- 
ertson, was  produced  at  the  Prince  of  Wales's 
Theatre  in  London  on  September  15,  1866.  The 
cast  was  as  follows : 

Prince  Perovsky John  Hare. 

Colonel  Sir  Alexander  Shendryn  . .  J.  W.  Ray. 

Angus  Macalister  Squire  B.  Bancroft. 

Hugh  Chalcot  John  Clarke. 

Captain  Saniprey Mr.  Trafford. 

Sergeant  Jones  Fred  Younge. 

Houghton    Mr.  Tindale. 

Lady  Shendryn  Sophie  Larkin, 

Blanche  Haye   Louisa  Moore. 

Mary  Netley Marie  Wilton. 

When  "Ours"  was  brought  out,  Robertson  was 
already  known  as  the  author  of  a  successful  com- 
edy— "Society" — that  had  been  the  talk  of  the  town 
the  previous  season.  It  had  really  laid  the  foun- 
dation of  the  fortunes  of  the  Prince  of  Wales's 
Theatre,  which  up  to  that  time  had  had  a  check- 
ered career  under  various  names.    "Society"  had 


JOHN  GILBERT. 

A.S  Col.  Sir  Alex.  Siiendryn,  in  Ours. 


5plapsf  of  tjjc  present*  205 

brought  its  author  an  immediate  order  for  a  new 
play,  and  by  the  summer  of  1866  "Ours"  was  com- 
pleted and  read,  rehearsed,  and  played  several 
times  at  Liverpool.  These  early  performances 
were  of  great  value,  as  they  enabled  the  dramatist 
to  improve  the  end  of  the  play,  so  that  when  it  was 
submitted  to  the  verdict  of  a  London  audience, 
there  were  no  changes  to  be  made  in  it. 

When  London  saw  "Ours"  for  the  first  time,  the 
fame  of  the  few  productions  which  Marie  Wilton 
had  already  made  had  gone  abroad,  and  every  one 
looked  forward  to  some  new  developments  in  the 
art  of  stage  management.  And  they  were  not  dis- 
appointed. The  scenes  were  marvels  of  artistic 
work.  The  effect  of  the  second  act,  where  the 
troops  leave  for  the  Crimean  war,  was  something 
extraordinary;  the  audience  became  wildly  enthu- 
siastic, and  cheered  till  apparently  exhausted.  In 
the  scene  in  the  hut,  great  surprise  was  caused  by 
the  realistic  effect  of  the  driving  snow  each  time 
the  door  was  opened. 

For  one  hundred  and  fifty  nights  "Ours"  held 
the  boards  in  London,  and  was  not  long  in  reach- 
ing this  country.  On  December  19  of  the  year 
that  it  was  produced,  it  was  given  at  Wallack's 
Theatre  in  New  York,  with  Lester  Wallack  as 
Hugh  Chalcot,  John  Gilbert  as  Colonel  Sir  Alex- 
ander Shendryn,  and  Effie  Germon  as  Mary  Net- 
ley.  Mr.  Wallack  made  Hugh  Chalcot  so  com- 
pletely his  own  that,  as  Laurence  Hutton  says. 


2o6  plap^  of  tJ)c  ^ircjefait* 

when  he  died  the  part  died  with  him.  The  comedy 
has  always  proved  popular  even  when  presented 
with  an  ordinary  company,  and  will  rank  as  one 
of  Mr.  Robertson's  best  works. 


A  Pair  of  Spectacles,  a  comedy  in  three  acts 
adapted  by  Sydney  Grundy  from  "Les  Petits 
Oiseaux"  of  Labiche  and  Delacour,  was  produced 
at  the  Garrick  Theatre  in  London  on  February  22, 
1890,    The  cast  was  as  follows : 

Mr.  Benjamin  GoldHnch  John  Hare. 

Uncle  Gregory Charles  Groves. 

Percy   Rudge  Harding. 

Dick  Sidney  Brough. 

Larimer  C.  Dodsworth. 

Bartholomew  F.  H.  Knight. 

Joyce    R.  Cathcart. 

Another  Shoemaker John  Byron. 

Mrs.  Goldfinch  Kate  Rorke. 

Lucy  Larimer  Miss  B.  Horlock. 

Charlotte "      F.  Hunter. 

The  following  season  "A  Pair  of  Spectacles" 
was  given  in  this  country  by  A.  M.  Palmer's  com- 
pany at  the  Madison  Square  Theatre,  the  cast  in- 
cluding J.  H.  Stoddart  as  Mr.  Benjamin  GoldHnch, 
E.  M.  Holland  as  Uncle  Gregory,  Walden  Ramsey 
as  Percy,  Henry  Woodruff  as  Dick,  Frederic  Rob- 
inson as  Lorimer,  Herbert  Millward  as  Joyce, 
Maud  Harrison  as  Mrs.  Goldfinch,  Nannie  Crad- 
dock  as  L%icy  Lorimer,  and  Anne  Gregory  as 
Charlotte. 


ptip^  of  tljc  present.  207 

During  Air.  Hare's  first  American  tour,  in  the 
season  of  1895-1896,  "A  Pair  of  Spectacles"  was  in 
his  repertory,  and  he  gave  it  for  the  first  time  in 
New  York  at  Abbey's  Theatre  on  January  6,  1896, 
the  cast  including,  in  addition  to  Mr.  Hare  and  Mr. 
Groves  in  their  original  characters,  Gilbert  Hare 
as  Dick,  Charles  Rock  as  Lorimer,  W.  M.  Cath- 
cart  as  Percy,  May  Harvey  as  Mrs.  Goldfinch,  and 
Nellie  Thorne  as  Lucy  Lorimer.  The  play  has 
also  had  several  revivals  by  Mr.  Hare  in  London, 
the  latest  being  at  the  Criterion  Theatre  on  Jan- 
uary 4,  1902,  with  Mr.  Groves  still  as  Uncle  Greg- 
ory, and  May  Harvey  as  Mrs.  Goldfinch. 

Partners  for  Life,  a  comedy  by  Henry  J.  Byron, 
was  produced  at  the  Globe  Theatre,  London,  on 
October  7,  1871.  Its  early  days  were  closely  as- 
sociated with  the  stage  career  of  the  late  Henry 
J.  Montague,  who,  at  the  time  of  its  production, 
had  just  begun  the  management  of  the  Globe 
Theatre  in  London,  and  was  encouraging  all  the 
young  playwrights  of  the  day  by  putting  on  their 
pieces  at  his  house.  Henry  J.  Byron  and  Thomas 
W.  Robertson  were  at  that  period  well  out  of  the 
obscurity  and  struggles  of  their  earlier  efforts  to 
gain  a  foothold  on  the  stage,  and  both  had  found 
that  their  talents  lay  more  in  the  direction  of  play- 
writing  than  play-acting.  Mr.  Byron's  work  was 
divided  pretty  evenly  between  the  more  serious 
drama,  in  which  he  was  extraordinarily  success- 


2o8  ^lapiGf  of  tijc  ^rc^cnt* 

fill  with  "Our  Boys,"  and  the  burlesques  and  ex- 
travaganzas by  which  he  was  at  first  exclusively 
known  to  English  theatre-goers.  "Our  Boys"  is 
the  one  piece  by  which  he  is  now  remembered. 
"Partners  for  Life  "  attained  some  popularity  at 
the  outset  of  its  career,  but  it  was  soon  cast  aside 
and  used  only  for  occasional  revivals  on  the  Brit- 
ish and  the  American  stage. 

Mr.  Montague's  company  comprised  an  excep- 
tional number  of  talented  English  players,  and 
was  not  equaled  by  any  dramatic  organization 
then  playing  in  Great  Britain,  with  the  possible 
exception  of  the  company  headed  by  Mr.  and  Mrs. 
Bancroft  at  the  Prince  of  Wales's  Theatre.  "Part- 
ners for  Life"  was  produced  at  the  Globe  Theatre 
with  the  characters  thus  allotted : 

Mr.  Mervyn  David  Fisher. 

Muggles  Henry  Compton. 

Tom  Gilroy Henry  J.  Montague. 

Sir  Archibald  Drelincouri  E.  W.  Garden. 

Major  Billiter Charles  P.  Flockton. 

Ernest C.  Neville. 

Fanny  Smith   Carlotta  Addison. 

Emily  Mervyn  Fanny  Josephs. 

Priscilla   Miss  Larkin. 

Almost  exactly  three  years  later,  Mr.  Montague 
came  to  this  country,  and  henceforth  was  connected 
with  the  American  stage.  He  made  his  American 
debut  on  Tuesday  evening,  October  6,  1874,  at 
Wallack's  Theatre,  New  York,  as  Tom  Gilroy  in 
Byron's  play,  assisted  by  John  Gilbert  as  Horace 


^lap^  of  t)^t  Present*  209 

Mei'vyn,  and  Harry  Becket  in  the  comedy  part 
of  Mng^Ics,  and  for  the  ensuing  four  years  was 
seen  in  that  character  throughout  the  United 
States. 

The  other  prominent  members  of  the  original 
cast  were  Henry  Compton,  a  famous  comedian 
whose  memory  is  still  held  in  honor  by  all  English 
theatre-goers;  Charles  P.  Flockton,  a  member  of 
various  American  companies  for  the  past  dozen 
years ;  David  Fisher,  who  was  an  accomplished 
actor  of  old  men  parts ;  and  Mrs.  Carlotta  Addison, 
the  fame  of  whose  acting  has  frequently  crossed 
the  Atlantic. 

On  April  15,  1872,  "Partners  for  Life"  was  put 
on  at  the  Boston  Museum,  "coincident  with  its 
production  at  Wallack's  Theatre,  New  York,"  and 
following  its  "one  hundred  and  thirty-one  con- 
secutive representations  in  London,"  as  the  an- 
nouncements read.  Long  runs  were  not  then  the 
rule,  and  so  "Partners  for  Life,"  after  five  per- 
formances, was  withdrawn.  Three  weeks  later 
it  was  revived  at  the  Museum  for  two  perform- 
ances, in  connection  with  "A  Phenomenon  in  a 
Smock  Frock,"  which  had  also  been  the  afterpiece 
at  its  first  presentation  in  Boston.  The  Museum 
cast  ran  as  follows : 


Horace  Mervyn  R.  F.  McClannin. 

Muggles   William  Warren. 

Tom  Gilroy  Charles  Barron. 

Sir  Archibald  Drelincourt  James  Burrows. 

14 


2IO  pap^  of  tlje  ^pte^efnit 


Major  Billiter J.  Alfred  Smith, 

Coppinger    James  Nolan. 

Ernest  J.  W.  Blaisdell. 

Fanny  Smith Annie  Clarke. 

Emily  Mervyn   Susie  Cluer. 

Priscilla    Mrs.  J.  R.  Vincent. 

Darbyshire  Josie  Batchelder. 

"Partners  for  Life"  now  receives  occasional 
revivals  by  resident  stock  companies  in  various 
American  cities. 


The  Passing  Regiment,  a  play  in  live  acts 
adapted  by  Augustin  Daly  from  the  German  of 
von  Moser  and  von  Schonthan,  was  produced  at 
Daly's  Theatre  in  New  York  on  November  lo, 
1 88 1,  the  cast  being  as  follows: 

Telka  Essoif  Ada  Rehan. 

Mrs.  Winthrop  Mrs.  G.  H.  Gilbert, 

Mrs.  Bunker  Miss  Sylvie. 

Linda  Bunker  Bijou  Heron. 

Mile.  Merritt Miss  Vinton. 

Mr.  Bunker  Charles  Leclercq. 

Mr.  Winthrop  J.  W.  Shannon. 

Paul  Dexter  John  Drew. 

Surgeon  Van  Tassell Henry  Miller. 

Colonel  Van  Vleek  George  Parkes. 

Lieutenant  Thorp  Suydam Henry  M.  Pitt. 

Hoffmeister  James  Lewis, 

"The  Passing  Regiment"  was  given  at  Daly's 
Theatre  for  about  three  months,  and  then  was 
taken  on  tour  by  Mr.  Daly.  In  the  season  of  1889- 
1890  it  was  performed  at  the  Boston  Museum,  with 


plapisf  of  tl)c  prcjaciit* 


211 


Emma  Sheridan  as  Tclka,  John  Mason  as  Paul 
Dexter,  Henry  M.  Pitt  as  Lieutenant  Thorp  Suy- 
dam,  and  George  W.  Wilson  as  the  apothecary. 

Pique,  a  drama  in  four  acts  by  Augustin  Daly, 
was  produced  at  his  Fifth  Avenue  Theatre  in  New 
York  on  December  14,  1875,  with  such  emphatic 
success  that  it  ran  until  the  following  June  24,  the 
end  of  the  season.  The  original  cast  was  as  fol- 
lows : 

Matthew  Standish  Charles  Fisher. 

Arthur  Standish  D.  H.  Harkins. 

Dr.  Gossett John  Brougham. 

Raymond  Lessing Maurice  Barrymore. 

Sammy  Dymple   James  Lewis. 

Thorsby  Gill John  Drew. 

Ragmoney  Jim Frank  Hardenbergh. 

Padder  C.  Rockwell. 

Little  Arthur  Belle  Wharton. 

Mabel  Renfrew  Fanny  Davenport. 

Lucille    Emily  Rigl. 

Mary  Standish Jeffreys  Lewis. 

Aunt  Dorothy  Mrs.  G.  H.  Gilbert. 

Raitch    Sydney  Cowell. 

Mother  Thames   Miss  K.  Holland. 

William  Davidge  later  superseded  Mr.  Rockwell 
as  Padder,  but  the  cast  remained  otherwise  sub- 
stantially intact  for  the  entire  run.  "Pique"  is  a 
drama  of  American  life,  the  part  of  the  head- 
strong Mabel  being  so  excellently  adapted  for 
starring  purposes  that  Fanny  Davenport  after- 
ward made  the  play  a  part  of  her  repertory  and 
played  it  in  the  leading  theatres  of  this  country. 


212  S^Iap^  of  tljc  ^tc^cttt 

She  gave  "Pique"  its  first  presentation  in  Boston 
at  the  Globe  Theatre  on  August  28,  1876,  and 
played  the  leading  character  there  for  two  weeks. 
On  account  of  her  illness  during  the  third  week 
of  the  engagement,  however,  Mabel  Renfrew  was 
played  by  May  Nunez  and  Jeffreys  Lewis,  the 
latter  having  interpreted  Mary  Standish  in  the 
original  production.  "Pique"  was  also  given  by 
the  stock  company  at  the  Boston  Museum,  Annie 
Clarke  appearing  as  Mabel  Renfrew,  Blanche 
Thompson  as  May  Standish,  Mrs.  Vincent  as 
Aunt  Dorothy,  Miriam  O'Leary  as  Raitch,  Charles 
Barron  as  Captain  Standish,  George  W.  Wilson 
as  Sammy  Dymple,  and  George  R.  Parks  as 
Thorsby  Gill. 

In  recent  years  "Pique"  has  been  performed  oc- 
casionally by  the  resident  stock  companies  at  thea- 
tres throughout  the  country. 

Play,  a  drama  by  Thomas  W.  Robertson,  was 
brought  out  at  the  Fifth  Avenue  Theatre  in  New 
York  on  August  16,  1869.  Robertson  was  at  the 
height  of  his  popularity  just  at  the  time  that  Au- 
gustin  Daly  was  climbing  on  to  the  stepping- 
stones  of  his  managerial  career.  It  was,  there- 
fore, natural  that  "Play,"  his  latest  work,  should 
be  selected  as  the  opening  production  at  Mr.  Daly's 
Fifth  Avenue  Theatre.  The  success  of  "Play"  at 
the  Prince  of  Wales's  Theatre  in  London,  where  it 
was  originally  produced  February  15,  1868,  was 


D.  H.   HARKINS. 

As  Capt.   Arthur  Standish,  in    Pique. 


J)IapiSf  of  tf^t  ^tcmM* 


largely  due  to  a  charming  love  scene  played  by 
Mrs.  Bancroft  (Marie  Wilton)  and  H.  J.  Mon- 
tague. Among  the  principal  players  in  the  cast 
were  Lydia  Foote,  Mrs.  Leigh  Alurray,  Squire 
B.  Bancroft,  and  John  Hare,  the  two  last-named 
as  the  Chevalier  Browne  and  Hon.  Bruce  Fanquc- 
here  making  decided  hits. 

Much  of  the  humor  of  "Play,"  however,  was 
too  fragile  for  American  theatre-goers,  and  Mr. 
Daly  accordingly  altered  the  piece  before  putting 
it  on  his  stage,  and  cast  it  as  follows : 

Hon.  Bruce  Fanquehere  E.  L.  Davenport. 

Chevalier  Browne  George  Clarke. 

Frank  Price J.  B.  Polk. 

Bodmin  Toddcr George  Holland. 

Croupier  H.  Ryner. 

Graf  von  Staufenberg William  Beekman. 

Hauptmann  Stockstadt  William  Davidge. 

Amanda    Mrs.  Clara  Jennings. 

Rosie  Fanquehere  Agnes  Ethel. 

Mrs.  Kinpcek   Mrs.  G.  H.  Gilbert. 

Flower  girl  Emily  Lewis. 

Later  on,  Fanny  Davenport  replaced  Agnes  Ethel 
as  Rosie  Fanquehere.  It  will  be  noted  from  the 
above  cast  that  Edward  L.  Davenport  was  one  of 
the  original  members  of  Daly's  company.  He  did 
not,  however,  remain  with  it  long,  being  decid- 
edly out  of  his  element  under  Mr.  Daly's  auto- 
cratic management.  "The  splendid  presence  and 
personal  force  of  Davenport,"  says  a  contempo- 
rary chronicler,  "were  always  valuable,  even  when 
his  eloquence  was  held  in  check." 

14* 


214  !?Iap^  of  tf)c  ^pcc^cnt. 

Pocahontas,  or  The  Gentle  Savage,  a  bur- 
lesque by  John  Brougham,  was  produced  at  Wal- 
lack's  Theatre  in  New  York  on  December  24,  1855. 
The  play  was  thus  cast : 

Powhatan  John  Brougham. 

John  Smith  Charles  M.  Walcot. 

Cologog    J.  H.  Stoddart. 

Rolff Charles  Peters. 

Pootepet   Mrs.  Stephens. 

Weechcvendah    Miss  Sylvester. 

Krosaskanbce    "      L.  Thompson. 

Pocahontas    Georgina  Hodson. 

Of  the  numerous  extravaganzas  of  American 
origin,  Mr.  Brougham's  must  be  accounted  one  of 
the  most  successful.  It  was  written  in  the  dram- 
atist's best  vein,  was  both  funny  and  witty,  and, 
acted  by  players  who  entered  with  great  spirit  into 
the  humor  of  the  piece,  was  a  success  from  the 
start.  The  name-part  was  played  by  Miss  Hod- 
son,  whom  Lester  Wallack  called  one  of  the  hand- 
somest women  he  ever  saw,  and  who  had  but  re- 
cently arrived  in  this  country  from  the  Haymarket 
Theatre  in  London. 

The  story  has  been  told  before  of  the  curious 
incident  which  happened  soon  after  "Pocahontas" 
started  on  its  prosperous  run.  Miss  Hodson  was 
persuaded  by  one  of  the  company  that  fame  and 
fortune  lay  outside  of  Wallack's,  and  one  night 
she  did  not  appear.  The  manager  was  in  a  pre- 
dicament; it  was  time  to  ring  up  the  curtain,  but 
how  could  the  piece  be  given  without  the  prin- 


JDlap^  of  tfjc  prc^nit. 


215 


cipal  character?  Walcot  and  Brougham,  who 
dressed  in  the  same  room,  were  appealed  to,  and 
in  a  spirit  of  fun  they  agreed  to  play  the  burlesque 
without  the  heroine.  Lester  Wallack,  who  was 
looking  after  matters  in  the  absence  of  his  father, 
who  was  ill,  went  before  the  curtain  and  announced 
that,  as  the  representative  of  the  Indian  princess 
was  not  present,  the  play  of  "Pocahontas"  with- 
out Pocaliontas  w^ould  be  given. 

Mr.  Wallack  promised  a  charming  novelty  to 
those  who  remained ;  those  who  were  not  satisfied 
to  stay  could  receive  their  money  back  at  the  box- 
office.  The  audience  stayed;  the  result  was  as 
lively  a  frolic  as  w^as  ever  seen  on  a  stage.  Both 
Walcot  and  Brougham  improvised  as  they  came 
to  the  missing  heroine's  lines.  "As  my  daughter 
w^ould  say  if  she  were  here,"  Pozvhatan  would  con- 
clude a  speech,  while  John  Smith,  talking  to  an 
imaginary  Indian  girl,  would  answer  himself,  add- 
ing, "As  Pocahontas  might  have  said  if  she  had  n't 
gone  away."  The  fun  was  fast  and  furious ;  even 
the  actors  on  the  stage  were  in  convulsions  of 
laughter,  and  it  was  agreed,  both  before  and  behind 
the  curtain,  that  the  burlesque  never  went  better. 
The  next  night  Mary  Gannon,  a  popular  player,  ap- 
peared as  the  gentle  Indian  maiden,  and  the  per- 
formance of  "Pocahontas"  without  Pocahontas 
passed  into  theatrical  history  as  one  of  the  most  en- 
tertaining events  that  had  ever  occurred  in  stage- 
land. 


2 1 6  ©lap^  of  t()c  5f)rf iBfcnt, 

The  Princess  and  the  Butterfly,  a  comedy  in 
five  acts  by  Arthur  W.  Pinero,  was  produced  at 
the  St.  James's  Theatre  in  London  on  March  25, 
1897.    The  cast  was  : 

Sir  George  Lamorant,  Bart George  Alexander. 

Edward  Oriel  H.  B.  Irving. 

Mr.  St.  Roche H.  V.  Esmond. 

Lieutenant-Colonel  Arthur  Eave  . .  C.  A.  Smith. 

Hon.  Charles  Denstroude Ivo  Dawson. 

Sir  James  Velleret,  M.P R.  Dalton. 

Mr.  Adrian  Mills G.  Bancroft. 

Mr.  Bartlcy  Levan   G.  Gurney. 

Mr.  Percival  Ord  A.  Vane  Tempest. 

Maxime  Demailly   A.  Royston. 

Major-General  Sir  Robert  Chichele, 

K.C.B H.  H.  Vincent. 

Count  Vladislau  Reviezky S.  Hamilton. 

Princess  Pannonia    Julia  Neilson. 

Mrs.  Marsh  Mrs.  Kemmis. 

Annis  Marsh  Dorothy  Hammond. 

Lady  Ringstcad   Rose  Leclercq. 

Lady  Chichele Pattie  Bell. 

Mrs.  Sabiston  Mrs.  Cecil  Raleigh, 

Mrs.  St.  Roche   Miss  C.  Granville. 

Blanche  Oriel  Mabel  Hackney. 

Mrs.  Ware Julie  0pp. 

Madame  Yanokoff Ellen  Standing. 

Mrs.   Ughbrook   Miss  L.  Repton. 

Catherine    Eleanor  Aickin. 

Fay  Zuliani  Fay  Davis. 

After  "The  Second  Mrs.  Tanqueray,"  "The  No- 
torious Mrs.  Ebbsmith,"  and  "The  Benefit  of  the 
Doubt,"  with  their  strenuous  episodes  and  char- 
acters, "The  Princess  and  the  Butterfiy"  came  as 
a  distinct  novelty  from  Mr.  Pinero's  pen.  It  was 
at  once  widely  discussed,  and  being  secured  for 
an  American  production  by  Daniel  Frohman,  was 


JDlapjS"  of  tl)e  prcisnit,  2 1 7 

produced  b}-  his  stock  company  at  the  Lyceum 
Theatre  in  New  York  on  November  23,  1897,  with 
the  cast  arranged  as  follows : 

Sir  George  Lamorant James  K.  Hackett. 

Major-General  Sir  Robert  Clii- 

chele,  K.C.B Charles  Walcot. 

Edzvard  Oriel  Edward  Morgan. 

Maxime  Demailly  William  Courtleigh. 

Hon.  Charles  Denstronde Frank  R.  Mills. 

Mr.  St.  Roche Felix  Morris. 

Lieutenant-Colonel  Arthur Eave  George  Alison. 

Mr.  Adrian  Mills H.  S.  Taber. 

Mr.  Bartley  Levan Henry  Muller. 

Mr.  Percival  Ord Seymour  George. 

Paulding  John  Findlay. 

Fay  Zuliani  Mary  Mannering. 

Lady  Ringstead   Mrs.  Charles  Walcot. 

Lady  Chichele "      Thomas  Whiffen. 

Annis  Marsh Katharine  Florence. 

Mrs.  St.  Roche   Norah  Lamison. 

Mrs.  Ware  Alison  Skipworth. 

Mrs.  Marsh  Grace  Root. 

Blanche  Oriel  Helen  Macbeth. 

Mrs.  Sabiston  Nina  Morris. 

Catharine    Evelyn  Carter. 

Princess  Pannonia   Julie  0pp. 


During  the  run  of  "The  Princess  and  the  But- 
terfly" at  the  Lyceum  Theatre,  which  continued 
several  months,  William  Courtleigh  succeeded  Mr. 
Hackett  as  Sir  George  Lamorant,  and  Elizabeth 
Tyree  replaced  Norah  Lamison  as  Mrs.  St.  Roche. 
Later,  when  played  by  the  Lyceum  company  in 
other  American  cities,  William  Courtleigh  ap- 
peared as  Edzvard  Oriel,  and  Grant  Stewart  as 
Maxime  Demailly. 


2 1 8  pap^a?  of  tf)c  present. 

The  Prisoner  of  Zenda,  a  romantic  play  in  a 
prologue  and  four  acts  prepared  for  the  stage  by 
Edward  Rose  from  Anthony  Hope's  romance  of 
the  same  name,  was  performed  for  the  first  time 
at  the  Lyceum  Theatre,  New  York,  on  September 
4,  1895,  by  a  company  headed  by  Edward  H.  Soth- 
ern  and  under  the  management  of  Daniel  Froh- 
man.     The  cast: 

Characters  in  the  Prologue 

Prince   Rudolf,    the   Red   Elph- 

berg   E.  H.  Sothern. 

Duke  Wolfgang Arthur  R.  Lawrence. 

Gilbert,  Earl  of  Rassendyll  ....  Howard  Gould. 

Horace  Glyn  Guido  Marburg. 

Jeffreys  W.  L.  Branscombe. 

Giffen    Roydon  Erlynne. 

Amelia,  Countess  of  Rassendyll.  Bertha  Bartlett. 

Characters  in  the  Play 

Rudolf  the  Fifth      |   E.  K.  Sothern. 

Rudolf  Rassendyll   ) 

Michael,  Duke  of  Strelsau A.  R.  Lawrence. 

Colonel  Sapt Rowland  Buckstone. 

Frits  von  Tarlenheim Howard  Gould. 

Captain  Hentsau  Morton  Selten. 

Detchard    Daniel  Jarrett. 

Bertram  Bertrand  Sam  Sothern. 

Marshal  Strakencs  C.  P.  Flockton. 

Lorens  Teppich  Henry  Talbot. 

Franz  Teppich,  his  brother W.  B.  Woodall. 

Lord  Topham  W.  L.  Branscombe. 

Ludwig  Charles  Arthur. 

Totii    Roydon  Erlynne. 

Josef   John  J.  Collins. 

Princess  Flavia  Grace  Kimball. 


5plap^'  of  tf)c  3f^rc^mt.  2 1 9 


Antoinette  de  Mauhan  ]Marie  D.  Shotwell. 

Fran  Teppich   Kate  Pattison-Selten. 

Countess  von  Strofzin  Miss  Dibdin. 

Countess  von  Riesberg   "      Drew. 

Mr.  Sothern  continued  to  act  the  dual  role  in 
"The  Prisoner  of  Zenda"  throughout  the  season 
of  1 895-1 896.  The  play  proved  so  popular  that, 
shortly  after  J\Ir.  Sothern's  departure  from  New 
York  in  November,  it  was  put  in  rehearsal  by  Mr. 
Frohman  with  his  regular  stock  company,  and  was 
revived  at  the  Lyceum  Theatre  on  February  lo, 
1896,  with  James  K.  Hackett  in  the  role  created 
by  Mr.  Sothern.  The  other  leading  characters  in- 
troduced Herbert  Kelcey  as  Duke  Michael,  W.  J. 
Le  Moyne  as  Colonel  Sapt,  Stephen  Grattan  as 
Fritz,  Charles  Walcot  as  Marshal  Strakencs,  Wal- 
ter Hale  as  Captain  Hentcan,  Isabel  Irving  as  the 
Princess  Flavia,  and  Elita  Proctor  Otis  as  Antoi- 
nette de  Mauhan.  The  following  season,  with  Mr. 
Hackett  still  heading  the  stock  company  on  tour, 
Michael  was  played  by  Edward  Morgan,  Fritz  by 
Frank  R.  Mills,  Captain  Hentsau  by  William 
Courtleigh,  the  Princess  Flavia  by  Mary  Manner- 
inc,  and  Antoinette  de  Mauhan  by  Maude  Odell. 

The  first  performance  of  "The  Prisoner  of 
Zenda"  in  England  came  at  the  St.  James's  Thea- 
tre, London,  on  January  7,  1896,  under  the  man- 
agement of  George  Alexander,  the  cast  including 
Mr.  Alexander  in  the  dual  role,  Herbert  Waring 
as  Black  Michael,  W.  H.  Vernon  as  Colonel  Sapt, 


220  pap^  of  tfjc  ^prc^cnt. 

Arthur  Royston  as  Frits,  Laurence  Cautley  as  Cap- 
tain Hentsau,  Evelyn  Millard  as  the  Princess  Fla- 
via,  and  Lily  Hanbury  as  Antoinette  de  Mauban. 

The  Professor's  Love  Story,  a  comedy  in  four 
acts  by  James  M.  Barrie,  was  produced  at  the 
Star  Theatre  in  N^  York  on  December  19,  1892, 
the  cast  being  as  follows : 

Professor  Goodwillie E.  S.  Willard. 

Agnes  Goodwillie  Ethel  Douglas. 

Effie  Proctor Emma  Rivers. 

Dr.  Cosens  Harry  Cane. 

Dr.  Yellowlccs Hugh  Harting. 

Sir  George  Gilding  Louis  Massen. 

Lady  Gilding   Maxine  Elliott. 

The  Dowager  Lady  Gilding Nannie  Craddock. 

Pete    F.  H.  Tyler. 

Menders  Royce  Carleton. 

Dawson   Arthur  Tiffany. 

Lucy  White Marie  Burroughs. 

At  the  Tremont  Theatre  on  April  10,  1893,  Bos- 
ton first  saw  Barrie's  play,  the  cast  being  identical 
with  that  of  the  New  York  production.  It  met 
with  considerable  favor  in  this  country,  and  for 
several  seasons  it  shared  with  "The  Middleman" 
the  leading  place  in  Mr.  Willard's  repertory.  De- 
spite its  defects,  the  play  and  Mr.  Willard's  act- 
ing seemed  to  please  the  theatre-going  public  im- 
mensely. Barrie  had  been  so  successful  with  his 
"Auld  Licht  Idylls,"  "A  Window  in  Thrums," 
and  "My  Lady  Nicotine"  that  he  naturally  turned 
his  thoughts  to  an  equal  triumph  on  the  stage. 


^Ia0  of  tfjc  ^prci^cnt. 


221 


But  it  may  fairly  be  said  that  "The  Professor's 
Love  Story"  brought  him  no  distinction,  and  that 
whatever  renown  it  may  have  gained  is  due  almost 
entirely  to  Air.  Willard's  skill  in  interpreting  the 
leading  character.  William  Archer  was  not  slow, 
despite  his  admiration  for  ]\Ir.  Barrie's  genius  as  a 
writer  of  sketches,  to  characterize  the  new  play  as 
trivial  and  puerile — "a  clever  sentimental  farce, 
amusing  enough,  but  utterly  insignificant." 

The  first  performance  of  "The  Professor's  Love 
Story"  in  England  w'as  at  the  Comedy  Theatre, 
London,  on  June  25,  1894,  the  cast  including  some 
of  the  cleverest  people  Mr.  Willard  had  brought 
with  him  to  this  country  on  his  earlier  tours.  Air. 
Willard  himself  played  the  Professor,  Bessie  Hat- 
ton  appeared  as  Lucy  White,  Nannie  Craddock  as 
the  preposterous  Lady  Gilding,  Royce  Carleton, 
F.  H.  Tyler,  and  Mrs.  Harry  Cane,  respectively, 
as  the  three  rustics  Henders,  Pete,  and  EfHe  Proc- 
tor, Bassett  Roe  as  Sir  George  Gilding,  and  Harry 
Cane  as  Dr.  Co  sens. 

The  Profligate,  a  drama  of  modern  life  in  four, 
acts  by  Arthur  W.  Pinero,  was  produced  at  the 
Garrick  Theatre,  London,  on  April  24,  1889,  with 
the  following  cast : 

Lord  Dangars   John  Hare. 

Dunstan  Renshaw Forbes  Robertson. 

Hugh  Murray Lewis  Waller. 

Wilfred  Briidenell Sydney  Brough. 

Mr.  Cheat   Mr.  Dodsvvorth. 


222  pap^ef  of  t{)c  ^rc^efcnt* 

Ephgravcs   R.  Cathcart. 

Weaver H.  Knight. 

Mrs.  Stonehay  Mrs.  Gaston  Murray. 

Leslie  Brudencll   Kate  Rorke. 

Irene   Beatrice  Lamb. 

Janet  Olga  Nethersole. 

Priscilla   Miss  Caldwell. 

After  a  run  of  eighty-six  consecutive  perform- 
ances at  the  Garrick  Theatre,  "The  Profligate" 
was  taken  on  tour  in  the  provinces,  and  was  en- 
thusiastically received  in  Birmingham,  Liverpool, 
and  other  cities.  Its  fame  spread  rapidly,  and, 
under  the  title  of  "De  Losbol,"  a  Dutch  version 
was  produced  in  Amsterdam  on  November  30, 
1889,  under  the  personal  supervision  of  J.  T. 
Grein,  later  of  the  Independent  Theatre  in  Lon- 
don. In  Germany  an  adaptation  by  Oscar  Blu- 
menthal,  called  "Falsche  Heilige"  ("False  Saints") 
was  produced  at  the  Stadt  Theater,  Hamburg,  on 
February  13,  189 1.  It  was  played  in  many  Ger- 
man cities,  and  was  everywhere  received  with  en- 
thusiasm. But,  unfortunately,  Dr.  Blumenthal's 
version  bore  little  likeness  to  the  original,  for  a 
serious  drama  of  English  life  was  turned  into  a 
frivolous  comedy  of  intrigue.  This  version  was 
given  in  New  York  at  Amberg's  Theatre  on  Octo- 
ber 29,  1 89 1. 

"The  Profligate"  was  produced  in  Australia  in 
1 89 1  by  Olga  Nethersole,  but  it  was  not  given  in 
this  country  until  the  season  of  1 894-1 895,  when 
Marie  Burroughs  made  it  a  feature  of  her  starring 
tour.   Miss  Burroughs  appearing  as  Leslie  Bru- 


MAUDE  ADAMS, 

As   Phoebe  Throssell,   in   Quality  Street. 


^\a^^  of  rtjc  prcj^cnt.  223 

dencll,  John  E.  Kellerd  as  Dunstan  Renshazv,  and 
Louis  Massen  as  Lord  Dangars.  In  1898-1899 
Olga  Nethersole  added  it  to  her  repertory,  and  it 
was  then  given  for  the  first  time  in  New  York  at 
the  Harlem  Opera  House  on  May  22,  1898.  It  did 
not,  however,  receive  its  first  Broadway  perform- 
ance until  March  17,  1900,  when  it  was  played  at 
Wallack's  Theatre,  with  Miss  Nethersole  as  Les- 
lie Brudenell,  Hamilton  Revelle  as  Dunstan  Ren- 
shazv, Fred  Thorne  as  Lord  Dangars,  and  John 
Glendinning  as  Hugh  Murray. 


Quality  Street,  a  comedy  in  four  acts  by  James 
Matthew  Barrie,  was  produced  at  the  Valentine 
Theatre  in  Toledo  on  October  11,  1901.  It  was 
written  especially  by  Mr.  Barrie  for  Miss  Adams, 
and  the  original  cast  was  as  follows : 

Valentine  Brown  Sydney  Brough. 

Ensign  Blades William  Lewers. 

Major  Link  Water  R.  Peyton  Carter. 

Lieutenant  Spicer  George  Irving. 

Major  Bubb Frederick  Spencer. 

A  Recruiting  Sergeant Joseph  Francoeur. 

Master  Arthur  Wellcsley  Tomson  . .  Fred  Santley. 

Miss  Susan  Throsscll Helen  Lowell. 

Miss  Phoebe  Throssell  Maude  Adams. 

Miss  Willoughby  Ida  Waterman. 

Miss  Fanny  Willoughby  Sarah  Converse. 

Miss  Henrietta  Turnbull Sara  Perry. 

Patty   Marion  Abbott. 

After  a  brief  tour  the  play  was  taken  to  New 
York,  and  at  the  Knickerbocker  Theatre  on  No- 


224  B^Iap^  of  tfjc  prcjefcnt 

vember  ii  received  its  first  performance  in  that 
city.  It  remained  there  for  a  short  period,  and 
was  then  performed  in  the  leading  American 
cities.  Neither  the  play  nor  Miss  Adams's  act- 
ing of  the  leading  character  attained  the  popu- 
larity anticipated  from  her  success  in  "The  Little 
Minister." 

The  Queen's  Favorite,  a  play  in  four  acts 
adapted  from  the  French  by  Sydney  Grundy,  was 
produced  at  the  Olympic  Theatre  in  London  on 
June  2,  1883,  with  this  cast : 

Henry  St.  John W.  H.  Vernoist. 

Ensign^  Masham  F.  C.  Bindloss. 

Marquis  de  Percy  Hamilton  Knight. 

Sir  John  Tyrrell  Mr.  Paine. 

oncer   A.  Darrell. 

Queen^  Anne   Gertrude  Kellogg. 

Abigail  Hill Lucy  Buckstone. 

Lady  Albemarle  Janet  Achurch. 

Duchess  of  Marlborough Genevieve  Ward. 


Ci'- 


'The  Queen's  Favorite"  was  adapted  from  Eu- 
gene Scribe's  "Le  Verre  d'Eau,"  originally  brought 
out  at  the  Theatre  Frangais  in  1840.  Scribe's  play 
has  served  as  the  basis  of  several  English  adapta- 
tions, "The  Maid  of  Honor,"  produced  at  the 
Adelphi  Theatre  in  London  in  October,  1841,  and 
"The  Triple  Alliance,"  produced  at  the  Princess's 
Theatre,  London,  in  November,  1862,  being  ver- 
sions of  the  French  piece.  Mr.  Grundy's  adapta- 
tion was  brought  to  this  country  by  Miss  Ward, 


piap^  of  tfjc  present*  225 

and  given  its  first  representation  here  in  San  Fran- 
cisco on  March  i8,  1886.  A  year  later  Eastern 
cities  saw  the  play,  it  being  brought  out  in  Boston 
at  the  Park  Theatre  on  March  14,  1887.  In  the 
Boston  production  D.  G.  English  was  seen  as  En- 
sign Masham,  Lionel  Bland  as  the  Marquis,  and 
Percy  Winter  as  the  Officer,  while  Eleanor  Tyn- 
dale  played  Abigail  Hill. 

Quo  Vadis,  a  drama  in  five  acts  arranged  by  Stan- 
islaus Stange  from  Henryk  Sienkiewicz's  romance 
of  the  same  name,  was  produced  at  McVicker's 
Theatre  in  Chicago  on  December  11,  1899,  the 
principal  features  of  the  cast  being  as  follows : 

Vinicius    Joseph  Haworth. 

Petronius    Arthur  Forrest. 

Nero    Edmund  D.  Lyons. 

Tigellinus  William  F.  Clifton. 

Aldus  Plant  ins  Richard  Buhler. 

Caius  Hasta Marcus  Ford. 

Chilo  Chilonides Horace  Lewis. 

Vitellhis    W.  T.  Melville. 

Regulus Frank  Battin. 

Lucan Leonard  Walker. 

Afer  F.  Boyle. 

Terpnos W.  Arundel. 

Diodorus    W.  Marriott. 

Tiresias  Robert  Delmar. 

Melton  William  Sylvester. 

Little  Aulus Master  Teddy. 

Glaucus  Edwin  Varrey. 

Ursus Elmer  Grandin, 

Poppaea    Alice  Fischer. 

Eunice  Maude  Fealy. 

Lygia   Roselle  Knott. 

Pomponia  Margaret  Fealy, 

Acte  Miss  C.  Kanyon. 

15 


226  5PJapj6f  of  tfjc  5prcjefcnt. 

The  repute  of  Sienkiewicz's  famous  romance  of 
the  Roman  days  of  Nero  secured  for  Mr.  Stange's 
play  an  immediate  popularity.  On  April  9,  1900, 
it  was  given  at  the  New  York  Theatre  by  the 
above  cast  for  the  first  time  in  New  York,  and 
ran  there  well  into  the  summer.  On  the  same  day 
a  rival  version  made  by  Jeannette  L.  Gilder  was 
produced  at  the  Herald  Square  Theatre,  but  it 
failed  to  please  the  public,  and  ran  only  a  few 
weeks.     The  cast  was  : 

Petronius    Edward  J.  Morgan. 

Vinicius  John  Blair. 

Nero  Robert  Fischer. 

Tigcllinus   T.  B.  Bridgeland. 

Chilo    Frank  J.  Currier. 

Lucan  William  Herbert. 

Ursus  Harrison  Armstrong. 

Father  Linus  Myron  Calice. 

Croton   Howard  Truesdale. 

Hasta  Robert  L.  Camp. 

Vitelliiis W.  V.  Ranous. 

Vestinius  Horace  Pell. 

Glaucus   WiLLiARD  Simpson. 

Little  Aulus  Little  Arthur. 

Lygia   Bijou  Fernandez. 

Poppaea Hattie  Russell. 

Eunice   Grayce  Scott. 

Pomponia   Minnie  Monk. 

Acte    Engle  Summer. 

Ligidia  Jane  Marbury. 

There  was  a  considerable  rivalry  over  the  pro- 
duction of  "Quo  Vadis"  in  England,  Mr.  Stange's 
version  being  performed  at  the  Adelphi  Theatre 
in  London  on  May  6,  1900,  the  cast  including  Rob- 
ert Taber  as  Vinicius,  J.  H.  Barnes  as  Petronius, 


JOHN  DREW. 

As  Richard  Carvel. 


$)Iap^  of  tJjc  5PJ^CiSfcnt.  2  2  7 

G.  W.  Anson  as  Nero,  Robert  Pateman  as  Chilo, 
and  Lena  Ashwell  as  Lygia.  The  production,  how- 
ever, did  not  meet  with  success  in  London,  and  was 
withdrawn  after  a  career  of  a  month  at  the  Adel- 
phi  Theatre.  The  same  fate  awaited  a  version 
made  by  Wilson  Barrett,  produced  ahiiost  simul- 
taneously, in  which  Mr.  Barrett  appeared  as  Pe- 
tronius,  Basil  Gill  as  Viniciiis,  Ambrose  Manning 
as  Nero,  and  Maud  Jeffries  as  Lygia. 

Richard  Carvel,  a  drama  in  four  acts  adapted  by 
Edward  E.  Rose  from  Winston  Churchill's  novel, 
was  produced  at  the  Empire  Theatre  in  New  York 
on  September  ii,  1900.    The  cast: 

Richard  Carvel  John  Drew. 

Lionel  Carvel Herbert  Carr. 

Lord  Comyn Arthur  Byron. 

Duke  of  Chartersca  Frank  Losee. 

Marmaduke  Manners   Harry  Harwood. 

Grafton  Carvel  Lewis  Baker. 

Dr.  Courtenay  Morgan  Coman. 

Rev.  Bennett  Allen Paul  McAllister. 

Captain  Lewis  Dodson  Mitchell. 

Horace  Walpole  Francis  Powers. 

Charles  Fox  Brandon  Tynan. 

Captain  John  Paul George  Le  Soir. 

Lord  North William  Downing. 

Top  ham  Beauclerk  George  Forbes. 

Coble    Frank  Lamb. 

Mr.  Dix Robert  Shable. 

Scipio  John  Williams. 

Dorothy  Manners Ida  Conquest. 

Patty  Swain  Olive  May. 

Mrs.  Manners  Mrs.  W.  G.  Jones. 

Betty  Tayloe   Marian  Childers. 

Lady  Diana  Georgia  Mendum. 

Lady  Bunbury  Charlotte  Townshend. 


228  ^Iapi0f  of  tftc  ^rc^cnt* 

Mr.  Rose's  adaptation  proved  rather  inadequate, 
and  was  discarded  by  Mr.  Drew  at  the  close  of  the 
season  of  1900-1901,  after  a  tour  of  the  leading 
theatres  of  the  country. 

Rip  Van  Winkle,  a  play  in  three  acts  by  Dion 
Boucicault,  was  produced  at  the  Adelphi  Theatre 
in  London  on  September  4,  1865,  with  Joseph 
Jefferson  in  the  name-part.  The  drama  which 
Boucicault  made  for  Mr.  Jefferson  was  revised 
from  an  old  play  made  by  Charles  Burke,  Jeffer- 
son's half-brother,  and  the  actor  himself  indicated 
to  the  dramatist  the  changes  and  revisions  which 
were  to  be  made.  There  had  already  been  several 
successful  plays  based  on  Washington  Irving's 
story.  The  first  dramatization  of  which  there  is 
a  record  was  entitled  "Rip  Van  Winkle,  or  The 
Spirits  of  the  Catskill  Mountains,"  and  was  pro- 
duced in  Albany  on  May  26,  1828.  The  principal 
parts  were  thus  cast: 

Derrick  von  Slous Charles  B.  Parsons. 

Knickerbocker    Moses  S.  Phillips. 

Rip  Van  Winkle  Thomas  Flynn. 

Lowcnna Mrs.  Flynn. 

Alice    "      Forbes. 

This  was  announced  as  an  entirely  new  melo- 
drama, replete  with  wit  and  humor,  taken  from 
Irving's  novel  by  "a  gentleman  of  this  city"  (Al- 
bany). A  rhymed  prologue  by  "a  gentleman  of 
this  city"  preceded  the  piece,  and  its  first  perform- 


JOSEPH    JEFFERSON, 

As  Rip  Van  Winkle. 


pinpsf  of  tf^  prcsfcnt  229 

ance  was  on  the  occasion  of  the  benefit  of  Mrs. 
Flynn,  formerly  Miss  Twibell,  the  wife  of  Thomas 
Flynn.  Flynn  himself,  who  played  Rip,  was  the 
intimate  friend  of  the  elder  Booth,  and  the  man 
from  whom  Edwin  Booth  derived  his  middle  name 
of  Thomas. 

The  next  representative  of  the  good-natured 
vagabond  was  Charles  B.  Parsons,  who  played  in 
a  version  of  the  story  in  Cincinnati  in  the  follow- 
ing season.  William  Chapman,  James  H.  Hackett, 
and  Charles  Burke  were  also  among  the  earliest 
representatives  of  the  character,  the  last  named 
appearing  in  his  own  version  at  the  Arch  Street 
Theatre,  Philadelphia,  in  1849,  supported  by  Jo- 
seph Jefferson  as  the  innkeeper  Scth.  In  later 
years,  both  Jefferson  and  Hackett  used  this  adap- 
tation, although  the  first  version  produced  by 
Hackett  had  been  made  by  Bayle  Bernard  as  early 
as  1832. 

Joseph  Jefferson,  in  1865,  commissioned  Dion 
Boucicault  to  revamp  "Rip,"  and  the  result  was 
the  now  familiar  play  of  "Rip  Van  Winkle."  This 
is  essentially  the  form  in  which  Jefferson  now  pre- 
sents the  story,  although  changes  have  been  made 
from  time  to  time  in  accordance  with  Jefferson's 
well-known  theories  of  dramatic  elaboration,  which 
are  exemplified  also  in  his  version  of  "The  Rivals." 
In  fact,  "Rip  Van  Winkle"  as  it  now  stands  is 
more  of  an  evolution  than  a  creation. 

In  the  fall  of  1866  Jefferson  returned  to  this 


230 


5^!ap^  of  t\^t  ^tc^xt 


country,  and  gave  "Rip  Van  Winkle"  for  the  first 
time  in  New  York  on  the  evening  of  September  3 
at  the  Olympic  Theatre,  and  since  that  day  he  has 
become  known  to  the  present  generation  of  play- 
goers as  the  sole  representative  of  Irving's  scape- 
grace hero.  His  first  performance  of  the  part  in 
Boston  came  in  1869  at  the  Boston  Theatre,  the 
supporting  company  including  Dan  Maguinnis, 
C.  Leslie  Allen,  Mrs.  J.  B.  Booth,  and  Rachel 
Noah. 

RosEDALE,  a  play  in  four  acts,  was  dramatized 
by  Lester  Wallack  from  Edward  Bruce  Ham- 
ley's  novel,  "Lady  Lee's  Widowhood,"  with  sug- 
gestions from  Bulwer's  "What  Will  He  Do  With 
It?"  It  was  produced  at  Wallack's  Theatre,  New 
York,  on  September  30,  1863,  with  Mr.  Wallack  in 
the  leading  part  of  Elliot  Grey,  and  ran  for  one 
hundred  and  thirty  nights.  The  cast  included  John 
Gilbert  as  Miles  McKenna,  George  Holland  as 
Bitnberry  Kohh,  Mary  Gannon  as  Rosa  Leigh, 
Mrs.  Vernon  as  Tabitha  Stork,  and  Mrs.  John 
Hoey  as  Lady  Florence  May.  "Rosedale"  im- 
mediately became  one  of  the  popular  dramas  of 
its  day,  and  is  well  known  even  to  the  younger 
generation  of  present-day  theatre-goers. 

Mr.  Wallack  continued  to  act  Elliot  Grey  at 
intervals  for  over  twenty  years,  and  the  part  has 
been  one  by  which  many  leading  actors  have  gained 
the    public    esteem.      Lawrence    Barrett,    Barton 


LESTER  WALLACK, 

As  Eliol  Grey,   in   Rosedale. 


J)lapi9f  of  tfjc  Present  231 

Hill,  and  L.  R.  Shewell  were  familiar  representa- 
tives of  that  character  in  the  sixties,  and  at  the 
first  Boston  presentation  of  "Rosedale"  by  the 
famous  stock  company  at  the  Boston  jMuseum  on 
February  29,  1864,  William  Warren  appeared  as 
Bunherry  Kobb,  Frank  Hardenbergh  as  Miles  Mc- 
Kenna,  Kate  Reignolds  as  Lady  Florence  May, 
Mrs.  J.  R.  Vincent  as  Tabitha  Stork,  and  Josephine 
Orton  as  Rosa  Leigh.  Later  revivals  at  that  thea- 
tre, and  they  were  frequent,  found  Mr.  Wallack 
himself  as  Elliot  Grey.  He  was  succeeded  by 
Charles  Barron,  Eben  Plympton,  and  John  B. 
Mason  in  that  character,  and  later  George  W.  Wil- 
son appeared  as  Bunberry  Kobb,  Annie  Clarke  as 
Lady  Florence  May,  C.  Leslie  Allen  and  George  C. 
Boniface  as  Miles  McKenna,  and  Miriam  O'Leary 
as  Rosa  Leigh. 

Within  recent  years  Elliot  Grey  has  been  acted 
by  Joseph  Haworth,  Edwin  Arden,  Francis  Car- 
lyle,  A.  S.  Lipman,  John  Craig,  and  J.  H.  Gilmour. 

Rosemary,  a  comedy  by  Louis  N.  Parker  and 
Murray  Carson,  was  produced  on  May  17,  1896,  at 
the  Criterion  Theatre  in  London,  and  ran  there 
until  Saturday  evening,  December  26.  The  cast 
during  the  long  run  was  as  follows : 

Sir  Jasper  Thorndyke  Charles  Wyndham. 

Professor  Jograni  J.  H.  Barnes. 

Captain  Cruickshank,  R.N Alfred  Bishop. 

William  IVestwood   Kenneth  Douglas. 

George  Minifie  James  Welch. 


232  Ptip^  of  t(jc  ^rcjsfntt 


Abraham    F.  H.  Tyler. 

Mrs.  Cruickshank  Carlotta  Addison. 

Mrs.  Minifie  Emily  Vining. 

Priscilla   Annie  Hughes. 

Dorothy  Cruickshank   Mary  Moore. 


John  Drew  brought  out  "Rosemary"  at  the  Em- 
pire Theatre  in  New  York  on  August  31,  1896, 
and  continued  there  until  December  26.  The  cast 
was  as  follows : 

Sir  Jasper  Thorndyke John  Drew. 

Professor  Jogram  Daniel  H.  Harkins. 

Captain  Cruickshank,  R.N Harry  Harwood. 

William  Westwood  Arthur  Byron. 

George  Minifie   Joseph  Humphreys. 

Abraham    Frank  Lamb. 

Stilt  Walker  Charles  Gibson. 

Mrs.  Cruickshank   Mrs.  Annie  Adams. 

Mrs.  Minifie   "      King. 

Priscilla Ethel  Barrymore. 

Dorothy  Cruickshank  Maude  Adams. 

George  Bernard  Shaw  wrote  of  the  London  per- 
formance: "As  to  'Rosemary'  at  the  Criterion, 
there  is  very  little  to  be  said,  for,  though  it  is  a 
very  pleasant  piece  of  story-telling,  it  does  not 
really  supply  a  motive  for  the  very  remarkable 
display  of  acting  which  Mr.  Wyndham  imposes 
on  it,  and  to  which  it  owes  its  success,  .  .  . 
The  truth  is  that  the  play  has  one  pervading  defect. 
It  is  engaging,  humane,  fanciful,  well  written,  re- 
fined, humorous,  according  to  a  somewhat  literary 
conception  of  humor,  and  full  of  happy  reminis- 
cent touches  and  a  pardonable  Dickens  worship; 


JpIapjEf  of  tf)c  5i^rc0cnt.  233 

but  it  is  continuously  silly,  and  in  the  hands  of 
actors  who  were  no  better  than  their  parts  it  would, 
I  suspect,  act  very  vapidly  indeed." 

A  Royal  Family,  a  comedy  in  three  acts  by  Rob- 
ert ]\Iarshall,  was  produced  at  the  Court  Theatre, 
London,  on  October  14,  1899,  and  then  began  a 
career  of  exceptional  popularity.     The  cast  was : 

Louis  VII  Eric  Lewis. 

Prince  Charles  Ferdinand  . . .  J^Iaster  Reginald  Denny. 
Prince  Victor  Constantine   ..   Paul  Arthur. 

The  Duke  of  Berascon James  Erskine. 

The  Count  Varensa George  Bellamy. 

Baron  Holdcnsen  Aubrey  Fitzgerald. 

General  Casclla E.  H.  Paterson. 

The  Cardinal  Casano Dion  Boucicault. 

Father  Anselm   Marsh  Allen. 

First  A.  D.  C Rupert  Lister. 

Second  A.  D.  C G.  Waller. 

Third  A  D.C Harold  Russell. 

„        ,     .  5  ^Ir.  Tyrel. 

Secretaries    |     «     Kingsley. 

Lord  H.  Wyndham  Stapleton.  C.  Winter. 
Mr.  Vanderdyke  Q.  Cobb  . . .  S.  Conover. 

An  Arcacian  Patriot Alec  Weatherly. 

Lord  Chamberlain  Mr.  Turner. 

The  Queen  Ferdinand Mrs.  Charles  Calvert. 

The  Queen  Margaret ....  Ada  Branson. 

The  Princess  Alestine  Victo- 

rine  Angela  Gertrude  Elliott. 

The  Countess  Carini Mabel  Hackney. 

The  American  rights  having  been  secured  by 
Charles  Frohman,  it  was  produced  under  his  man- 
agement, with  Annie  Russell  in  the  leading  role, 
at  the  Lyceum  Theatre  in  New  York  on  Septem- 
ber 5,  1900,  the  cast  being  as  follows : 


234  ©lapiBf  of  tljc  ^tc^tnt 


Louis  VII Lawrence  D'Orsay. 

Prince  Charles  Ferdinand Donald  Gallaher. 

Prince  Victor  Constantine Charles  Richman. 

The  Duke  of  B  erase  on Orrin  Johnson. 

The  Count  Varensa  George  Irving. 

Baron  Holdensen Charles  Butler. 

General  Casella Harry  Rose. 

The  Cardinal  Casano  W.  H.  Thompson. 

Father  Anselm  Richard  Nennett. 

First  A.  D.  C Robert  Hickman. 

Second  A.  D.  C Allen  Murname. 

Third  A.  D.  C George  Forbes. 

Lord  Herbert  IVyndhani  Stapleton.  Lloyd  Carlton. 

Mr.  Vanderdyke  Q.  Cobb  John  G.  Edwards. 

Lord  Chamberlain  Frank  Randolph. 

The  Queen  Ferdinand  Mrs.  G.  H.  Gilbert. 

The  Queen  Margaret Ellie  Wilton. 

The  Countess  Carini Mabel  Morrison. 

The    Princess    Alestine     Victorine 

Angela    Annie  Russell. 

"A  Royal  Family"  remained  at  the  Lyceum 
Theatre  through  the  greater  part  of  the  season  of 
1900-1901,  and  was  then  taken  for  a  brief  tour  of 
the  larger  American  cities.  Changes  in  the  cast 
involved  the  appearance  of  Orrin  Johnson  as 
Prince  Victor  Constantine,  Robert  Hickman  as  the 
Duke  of  Berascon,  and  Eleanor  Sanford  as  Queen 
Margaret. 

Rupert  of  Hentzau,  a  drama  in  four  acts  adapted 
by  Anthony  Hope  from  his  romance  of  the  same 
name,  was  produced  at  the  Chestnut  Street  Thea- 
tre in  Philadelphia  on  November  21,  1898,  the  cast 
being  as  follows : 

f '"/  ,^1^"^^  ^  ;;  I    James  K.  Hackett. 

Rudolf  Rassendyll  )  •' 

Colonel  Sapt   Charles  R.  Pope. 


ANNIE  RUSSELL, 

As  the   Princess  Angela,   in   A  Royal    Family. 


piapjGf  of  tfjc  prc^fcm.  235 


Count  Rupert  of  Hentsau  Arthur  Hoops. 

Fritz  von  Tarlcnhcim  Brigham  Royce. 

Lieutenant  von  Bernenstcin Duncan  Preston, 

The  Count  of  Luzau-Rischenheim  . .  George  Alison. 

Bauer   E.  W.  Thomas. 

James   Longley  Taylor. 

Chancellor  Sidney  Price. 

Simon  George  W.  Lynch. 

Herbert Mace  Greenleaf. 

Heinrich William  Eville. 

Guard   M.  C.  Wyman. 

Chancellor's  aide Edward  Donnelly. 

Queen  Flavia  Katherine  Grey. 

Helga  von  Tarlenheim Gertrude  Rivers. 

Mother  Half   Evelyn  Carter. 

Rosa  Holf  Mabel  Amber. 


Nothing  short  of  self-esteem  and  financial  con- 
siderations could  possibly  have  induced  Anthony 
Hope  to  allow  "Rupert  of  Hentzau"  to  destroy  so 
effectually  the  strong  romantic  impression  created 
in  his  favor  by  "The  Prisoner  of  Zenda."  It  was 
a  palpably  artificial  and  labored  resurrection  of 
hitherto  popular  characters,  which  contained  not  a 
tithe  of  the  fire  and  spirit  that  made  them  so  life- 
like in  "The  Prisoner  of  Zenda." 

"Rupert  of  Hentzau"  began  its  New  York  run 
at  the  Lyceum  Theatre  on  April  lo,  1899,  but  it 
did  not  possess  sufficient  vigor  to  last  into  the 
ensuing  season.  The  changes  in  the  cast  involved 
the  appearance  of  Theodore  Roberts  as  Colonel 
Sapt,  Robert  Elliott  as  Bernenstein,  Jobyna  How- 
land  as  Queen  Flavia,  and  Virginia  Buchanan  as 
Mother  Holf. 

The  London  production  of  "Rupert  of  Hentzau" 
came  at  the  St.  James's  Theatre  on  February  i, 


236  ^apiBf  of  tjjc  ^rc^cnt 

1900,  when  the  cast  included  George  Alexander 
as  the  King  and  Rudolf  RassendyU.  During  its 
career  both  in  England  and  this  country,  Mr. 
Hope's  play  was  subjected  to  a  great  many 
changes,  but  none  of  them  was  able  to  prolong 
its  brief  existence. 

Sag  Harbor,  a  play  in  four  acts  by  James  A. 
Heme,  was  produced  at  the  Park  Theatre  in  Bos- 
ton on  October  25,  1899,  and  remained  there  until 
January  20  of  the  following  year.  The  cast  was 
as  follows : 

William  Turner  Frank  Monroe. 

Ben  Turner  Forrest  Robinson. 

Frank  Turner  Sydney  Booth. 

Captain  Dan  Marble  James  A.  Herne. 

Freeman  Whitmarsh W.  T.  Hodge. 

George  Salter  C.  Dibdin  Pitt. 

Hosea  Stevens   John  D.  Garrick. 

Jim  Adams T.  H.  Burke. 

Ed  Mills  Robert  Gillig. 

Mrs.  John  Russell  Mrs.  Sol  Smith. 

Elizabeth  Ann  Turner  Marion  Abbott. 

Martha  Reese  Julie  A.  Herne. 

Jane  Cauldzvell  Chrystal  Herne. 

Frances  Towd Jessie  Dodd. 

Miss  Baily  Harriet  McDonald, 

Susan  Murphy   Gertrude  Bindley. 

Mr.  Heme's  ability,  both  as  playwright  and 
actor,  has  been  discussed  so  frequently  and  at  such 
length  that  little  remains  to  be  said  at  the  present 
moment.  The  final  judgment  upon  his  work  can- 
not now  be  pronounced,  but  a  knowledge  of  his 
"Margaret  Fleming,"  "Shore  Acres,"  "The  Rev. 


J)lapj^  of  tljc  Present  237 

Griffith  Davenport,"  and  "Sag  Harbor"  makes  it 
evident  that  such  judgment  will  some  day  become 
imperative.  In  "Sag  Harbor,"  as  in  all  his  other 
work,  ]\Ir.  Heme's  strength  and  his  weakness  come 
alternately  to  the  front.  His  keen  sense  of  the 
value  of  reality  as  a  potent  dramatic  factor  in  the 
making  of  a  play  is  everywhere  plainly  seen  in 
"Sag  Harbor,"  but  it  is  equally  clear  that  he  some- 
times mistakes  melodramatic  convention  and  stage 
artificiality  for  genuine  elements  of  life.  An  actor 
from  early  youth,  his  perspective  is  naturally  dis- 
torted, and  the  result  is  that  he  is  frequently  the 
most  melodramatic  when  he  intends  to  be  the  most 
actual.  In  "Sag  Harbor,"  the  basis  of  his  plot — 
one  woman  loved  by  two  brothers — is  as  old  as 
the  melodramatic  hills,  and  in  the  treatment  of 
neither  incident  nor  character  does  Mr.  Heme 
show  any  originality.  But  he  does  create  original 
effects  by  means  of  his  inborn  dramatic  sense,  and 
it  is  these  subtle  effects,  sometimes  of  atmosphere, 
sometimes  of  eloquent  pauses  in  the  action,  some- 
times of  a  clever  turn  in  the  dialogue,  which  make 
his  "Shore  Acres"  and  "Sag  Harbor"  distinctive 
among  the  thousand  other  plays  of  the  modern 
stage. 

The  death  of  Mr.  Heme,  on  June  2,  1901,  neces- 
sitated several  important  changes  in  the  cast  when 
"Sag  Harbor"  began  its  third  year  at  the  beginning 
of  1901-1902,  George  W.  Woodward  appearing 
as  Captain  Dan  Marble,  Franklyn  Ritchie  as  Ben 


238  ??Iapj0f  of  tije  ^tt^mt 

Turner,  Wallace  Jackson  as  William  Turner,  John 
Dean  as  Frank  Turner,  C.  B.  Craig  as  Freeman 
Whitmarsh,  Mrs,  Sol  Smith  as  Mrs.  John  Russell, 
Rillie  Deaves  as  Elisabeth  Ann  Turner,  Claire 
Kulp  as  Jane  Cauldwell,  Mollie  Revel  as  Frances 
Towd,  and  Chrvstal  Heme  as  Martha  Reese. 


Saratoga,  a  comedy  in  five  acts  by  Bronson  How- 
ard, was  produced  at  the  Fifth  Avenue  Theatre 
in  New  York,  under  the  management  of  Augustin 
Daly,  on  December  21,  1870.  It  ran  there  over 
three  months,  and  for  many  seasons  thereafter  was 
played  by  various  companies  in  almost  every  por- 
tion of  the  United  States.    The  original  cast  was : 

Bob  Sackett   James  Lewis. 

Jack  Benedict D.  H.  Harkins. 

Papa  Vanderpool   William  Davidge. 

Hon.  William  Carter  David  N.  Whiting. 

Remington   pere    George  DeVere. 

Major  Liiddington  Whist   A.  Matthison. 

Sir  Mortimer  Muttonleg George  Parkes. 

Efiie  Remington Fanny  Davenport. 

Virginia  Vanderpool  Linda  Dietz. 

Lucy  Carter  Clara  Morris. 

Mrs.  Vanderpool Mrs.  Gilbert. 

Olivia  Alston  Fanny  Morant. 

MuMns  Amy  Ames. 

The  essential  elements  of  the  acting  in  "Sara- 
toga" have  been  characterized  as  "Fanny  Daven- 
port's sumptuous  beauty  and  mirthful  coquetry; 
the  sweet  girlishness  of  Linda  Dietz ;  the  unex- 
pected vivacity  and  gaiety  of  Mr.  Harkins,  who, 


5Dlap.£f  of  tf^t  ^tc^nxt  239 

after  a  long  experience  with  heavies  and  leads,  fell 
with  remarkable  ease  into  the  lightsome  humor 
of  Jack  Benedict;  and  Mr.  Lewis's  entertaining 
and  painstaking  endeavors  to  prove  that  he  had 
left  Miss  Morris,  when  she  fainted  in  the  grove, 
'on  the  spot  where  she  originally  fell.'  "  ^ 

The  popularity  of  "Saratoga"  created  a  demand 
for  its  production  outside  of  New  York,  and  on 
February  23,  1871,  it  was  given  in  Boston  by  the 
famous  stock  company  at  the  Globe  Theatre. 
W.  R.  Floyd  appeared  as  Bob  Sackett,  H.  F.  Daly 
as  Jack  Benedict,  W.  J.  Le  Moyne  as  Papa  Van- 
derpool,  George  Clair  as  the  Hoyi.  William  Car- 
ter, Josephine  Orton  as  Effie  Remington,  Mrs. 
T.  M.  Hunter  as  Virginia  Vanderpool,  Lizzie  Price 
as  Lucy  Carter,  Mrs.  Melinda  Jones  as  Mrs.  Van- 
derpool, and  Mary  Gary  as  Muffins. 

"Saratoga"  was  localized  for  the  English  stage 
by  Frank  A.  Marshall,  and,  under  the  title  of 
"Brighton,"  was  produced,  with  Charles  Wyndham 
as  Boh  Sackett,  at  the  Court  Theatre  in  London 
on  May  25,  1874.  It  has  since  been  occasionally 
revived  by  Mr.  Wyndham,  and  was  a  feature  of 
his  repertory  during  his  first  tour  of  the  United 
States  in  1 883-1 884. 

The  Second  in  Command,  a  comedy  in  four  acts 
by  Robert  Marshall,  was  produced  at  the  Haymar- 

^  Edward  A.  Dithniar,  "Memories  of  Daly's 
Theatres,"  page  54. 


240  Pli^v^  of  tfje  ^rcjsfcnt 


ket  Theatre  in  London  on  November  27,    1900. 
The  cast  was  as  follows : 

Lieutenant-Colonel      Miles      An- 

struther,  D.S.O Allan  Aynesworth. 

Major  Christopher  Bingham Cyril  Maude. 

Lieutenant  Sir  Walter  Mannering.  Herbert  Sleath. 

Lieutenant  Peter  Barker G.  M.  Graham. 

Medenham  R.  G.  Oughterson. 

Sergeant  F.  Dale. 

Hartopp    G.  A.  Trollope. 

Corporal  A.  Hunt. 

Orderly  H.  Royle. 

Mr.  Fenwick  Clarence  Blakiston. 

The  Hon.  Hildebrand  Car  stairs  . .  A.  Vane  Tempest. 

A  General  Officer Wilfred  Forster. 

Muriel  Mannering Sybil  Carlisle. 

Lady  Harburgh  Fanny  Coleman. 

Norah  Vining  Muriel  Beaumont. 


Mr.  Marshall's  play  was  instantly  successful, 
and  ran  for  many  months  at  the  Haymarket  Thea- 
tre. The  American  rights  were  secured  by  Charles 
Frohman,  and  it  was  produced  for  the  first  time  in 
this  country  at  the  Empire  Theatre  in  New  York, 
on  September  2,  1901.    The  cast: 

Lieutenant-Colonel  Miles  Anstruther, 

D.S.O Guy  Standing. 

Major  Christopher  Bingham John  Drew. 

Lieutenant  Sir  Walter  Mannering  . .  Oswald  Yorke. 

Lieutenant  Peter  Barker Lionel  Barrymore. 

Medenham Frank  Lamb. 

Hartopp   Robert  Schable, 

Sergeant George  Harcourt. 

Corporal Percy  Smith. 

Orderly    Robert  Mackay. 

Mr.  Fenwick  Lewis  Baker. 

The  Hon.  Hildebrand  Carstairs H.  Hassard  Short. 


3plap.flf  of  t!)c  ^present.  241 


The  Duke  of  Hull George  Forbes. 

Muriel  Mannering Ida  Conquest. 

Lady  Harburgli   Ida  Vernon. 

Nor  ah  Vining Caroline  Keeler. 


'a 


After  a  long  New  York  run,  ''The  Second  in 
Command"  was  taken  on  the  road  for  the  remain- 
der of  the  season  of  1901-1902.  The  only  impor- 
tant changes  in  the  cast  were  the  substitution  of 
Reginald  Carrington  for  Frank  Lamb  as  Medcn- 
Jiam  and  of  Louise  Drew  (John  Drew's  daughter) 
for  Caroline  Keeler  as  Norah  Vining. 


The  Second  Mrs.  Tanqueray,  a  drama  of  mod- 
em life  by  Arthur  W.  Pinero,  was  produced  at 
the  St.  James's  Theatre  in  London,  Alay  27,  1893, 
and  was  continued  until  the  following  July  28. 
Since  then  it  has  been  frequently  revived  in  Lon- 
don and  the  provinces.     The  cast  was  : 

Aubrey  Tatiqneray  George  Alexander. 

Sir  George  Orreyed A.  Vane  Tempest. 

Captain  Hugh  Ardale  Ben  Webster. 

Cayley   Drummle    Cyril  Maude. 

Frank  Misquith,  Q.C Nutcombe  Gould. 

Gordon  Jayne Murray  Hathorne. 

Morse   Alfred  Holles. 

Lady  Orreyed Edith  Chester. 

Mrs.  Cortelyon   Amy  Roselle. 

Paula    Mrs.  Patrick  Campbell. 

Ellean  Maude  Millett. 

With  her  acting  of  the  title  character  in  "The 
Second  Mrs.  Tanqueray"  began  Mrs,  Patrick 
Campbell's   fame  as  a  leading  actress.     William 

16 


242  Iplap^  of  tl&e  $^rcj^cnt» 

Archer's  comment  was  that  "in  Mrs.  Patrick 
Campbell  Mr.  Alexander  has  laid  his  hand  upon 
the  very  woman  for  the  part  of  Paula."  On  Au- 
gust 31  "The  Second  Mrs.  Tanqueray"  was  pro- 
duced at  Leicester  for  the  first  time  outside  of  Lon- 
don, with  Mr.  Kendal  as  Mr.  Tanqueray  and  Mrs. 
Kendal  as  Paula.  They  brought  the  play  to  this 
country  immediately  upon  the  close  of  their  pro- 
vincial tour,  and  it  was  played  for  the  first  time  in 
America  at  the  Star  Theatre  in  New  York,  Octo- 
ber 9,  1893.    The  cast: 


Aubrey  Tanqueray  W.  H.  Kendal. 

Sir  George  Orreyed G.  P.  Huntley. 

Captain  Hugh  Ardale  Oscar  Adye. 

Cayley  Drummle J.  E.  Dodson. 

Frank  Misquith,  Q.C James  East. 

Gordon  Jayne  George  H.  Gray. 

Morse  H.  Deane. 

Lady  Orreyed   Nellie  Campbell. 

Mrs.  Cortelyon  Mary  Talbot. 

Ellean Annie  Irish. 

Paula    Mrs.  Kendal. 


Eleanora  Duse  has  acted  Paula  in  an  Italian  ver- 
sion of  "The  Second  Mrs.  Tanqueray,"  both  in 
Italy  and  in  England,  her  first  London  appearance 
in  that  character  being  at  the  Lyceum  Theatre 
on  January  12,  1900.  Evelyn  Millard,  Cynthia 
Brooke,  and  Olga  Nethersole  are  among  the  other 
actresses  who  have  assumed  the  character;  the 
last  named  played  it  in  this  country  in  1898-1899. 


plapjef  of  tf)c  J)rc9cnt  243 

Secret  Service,  a  drama  in  four  acts  by  William 
Gillette,  was  produced  in  its  original  form,  under 
the  title  of  "The  Secret  Service,"  at  the  Broad 
Street  Theatre  in  Philadelphia  on  May  13,  1895. 
The  cast : 


Captain  Ralph  Challoner Maurice  Barrymore. 

Mr.  Benton  Arrelsford William  Harcourt.. 

Major-General  Randolph  H.  B.  Bradley. 

Wilfred   Varncy   Edwin  Arden. 

Dr.  Horace  Garnet R.  F.  McClannin. 

Henry  Dumont  M.  L.  Alsop. 

Jonas    T.  E.  Jackson. 

Lillian  Varncy Mary  Hampton. 

Caroline  M  it  ford   Odette  Tyler. 

Mrs.  General  Varncy Ida"  Vernon. 

Martha    Alice  Leigh. 

Eleanor  Fairfax   Elaine  Eillson. 

Miss  Kittridge Lulu  Hopper. 

Miss  Farrington  Meta  Brittain. 


The  play  gained  no  success  and  was  immediately 
withdrawn.  After  radical  revision  by  Mr.  Gil- 
lette, it  was  produced  in  New  York  at  the  Garrick 
Theatre  on  October  5,  1896,  and  there  began  a 
career  of  popularity  which  spread  throughout  the 
United  States  and  extended  to  Europe.  The  cast 
at  the  Garrick  Theatre  was  as  follows : 


General  Nelson  Randolph Joseph  Brennan. 

Mrs.  General  Varney Ida  Waterman. 

Edith  Varney Amy  Busby. 

Wilfred  Varney   Walter  Thomas. 

Caroline  Mitford   Odette  Tyler. 

Leujis  Dumont  William  Gillette. 


244  3?lap^  of  tjc  ^rc^cnt* 


Henry  Diimont  M.  L.  Alsop. 

Mr.  Benton  Arrelsford Campbell  Gollan. 

Miss  Kittridge Meta  Brittain. 

Lieutenant  Maxwell   Francis  Neilson. 

Martha Alice  Leigh. 

Jonas    H.  D.  James. 

Lieutenant  Foray   William  B.  Smith. 

Lieutenant  Allison  Louis  Duval. 

Sergeant  Wilson  L  N.  Drew. 

Sergeant  Ellington Henry  Wilton. 

Corporal  Matson   H.  A.  Morey. 

The  run  at  the  Garrick  Theatre  continued  until 
March  6,  1897,  when  the  entire  company  was 
transferred  to  the  Boston  Museum,  there  being  no 
changes  in  the  cast  at  the  opening  of  the  engage- 
ment. On  March  30  Amy  Busby  was  replaced 
by  Blanche  Walsh,  and  later  Henry  Woodruff 
succeeded  Walter  Thomas  as  Wilfred  Varney. 
Immediately  upon  the  close  of  the  Boston  engage- 
ment Mr.  Gillette  and  his  company  sailed  for  Lon- 
don, and  at  the  Adelphi  Theatre  on  May  15  "Se- 
cret Service"  began  a  run  which  lasted,  including 
a  transfer  to  the  Comedy  Theatre,  until  August  4. 
Upon  the  departure  of  the  American  company 
from  London,  an  English  company  began  to  pre- 
sent Mr.  Gillette's  play  at  the  Adelphi  on  August 
5,  William  Terriss  appearing  as  Lezvis  Dumont, 
Harry  Nicholls  as  General  Randolph,  and  Jessie 
Millward  as  Edith  Varney,  continuing  until  Sep- 
tember 4.  It  was  revived  by  the  same  company 
on  November  24;  and  on  December  16,  following 
the  assassination  of  Mr,  Terriss  at  the  stage  door 
of  the  Adelphi  Theatre,  it  was  temporarily  with- 


WILLIAM  H.  CRANE, 

As  Senator  Hannibal   Rivers,  in  The  Senator. 


plap^  of  tljc  prcsnit  245 

drawn.  On  the  afternoon  of  December  ^y  it  was 
revived  at  the  same  house,  with  Herbert  Waring 
and  May  Whitty  in  the  leading  parts,  and  ran  there 
till  January  20,  1898.  It  was  afterward  given  in 
the  English  provincial  theatres  by  a  company  which 
included  Charles  Weir  as  Leivis  Diimont  and  ]\Iay 
Whitty  as  Edith  Varney.  On  September  i  the 
second  New  York  run  of  "Secret  Service"  began 
at  the  Empire  Theatre. 

A  French  version  of  ]\Ir.  Gillette's  play,  made 
by  Pierre  Decourcelle,  was  produced  at  the  Re- 
naissance Theatre  in  Paris  on  October  2,  1897. 

The  Senator,  a  comedy  in  four  acts  by  David  D. 
Lloyd  and  Sydney  Rosenfeld,  was  the  first  play 
used  by  William  H.  Crane  after  the  dissolution  of 
his  famous  partnership  with  Stuart  Robson.  It 
was  produced  by  him  at  the  Chicago  Opera  House 
on  September  16,  1889,  and  on  the  20th  of  January, 
1890,  it  began  a  run  at  the  Star  Theatre  in  New 
York.     The  cast  was  as  follows  : 

Senator  Hannibal  Rivers  ....  William  H.  Crane. 

Alexander  Armstrong   George  F.  De  Vere. 

Count  Ernest  von  Strahl  ....  Henry  Bergman. 

Baron  Ling  Ching H.\rry  Braham. 

Richard  Vance  James  Neill. 

Lieutenant   George   Schuyler, 

U.S.A T.  D.  Frawley. 

Isaiah  Sharpless William  Herbert. 

Silas  Dennian  J.  C.  Padgett. 

Erastus   J.  J.  Gilmartin. 

Mabel  Denvian  Lizzie  Hudson  Collier. 

Mrs.  Schuyler  Mrs.  Augusta  Foster. 

16* 


246  PapjSf  of  tJ)c  ^ircj^cnt* 


Mrs.  Armstrong Jennie  Karsner. 

Josie  Armstrong   Jane  Stuart. 

Mrs.  Hillary  Georgie  Drew  Barrymore. 


"The  Senator"  became  so  popular  that  it  was  the 
feature  of  Mr.  Crane's  repertory  for  three  succes- 
sive seasons.  During  that  period  there  were  a  few 
changes  in  the  cast,  the  most  important  involving 
the  appearance  of  Hattie  Russell  as  Mrs.  Hillary, 
Gladys  Wallis  as  Josie  Armstrong,  Anne  O'Neill 
as  Mabel  Denman,  and  George  W.  Leslie  as  Rich- 
ard Vance.  After  Mr.  Crane  had  laid  "The  Sena- 
tor" on  the  shelf,  Louis  Aldrich  played  the  title 
role  in  1 893-1 894,  supported  by  Sheridan  Block  as 
Cotint  Ernest  von  Strahl,  Harry  Braham  as  Baron 
Ling  Ching,  Emma  Field  as  Mabel  Denman, 
Dickie  Delaro  as  Mrs.  Schuyler,  Kathryn  Oster- 
man  as  Mrs.  Armstrong,  Hattie  Russell  as  Mrs. 
Hillary,  and  Millie  James  as  Josie  Armstrong. 

Seven-Twenty-Eight,  a  comedy  in  four  acts 
adapted  by  Augustin  Daly  from  the  German  of 
von  Schonthan,  was  produced  at  Daly's  Theatre 
in  New  York  on  February  24,  1883.    The  cast: 


Courtney  Corliss  John  Drew. 

Launcelot  Bargiss  James  Lewis. 

Signor  Tamhurini  William  Gilbert. 

Marcus  Brutus  Snap  Charles  Leclercq. 

Mrs.  Hypatia  Bargiss Mrs.  G.  H.  Gilbert. 

Dora  Hollyhock  Virginia  Dreher. 

Betsy   May  Fielding. 

Flos   Ada  Rehan. 


JAMES  LEWIS.        and        MRS.  GILBERT, 


As  Launceloi, 


As  Hypalia, 


In   728. 


5plap^  of  tjc  present*  247 

"Seven-Twenty-Eight"  remained  in  the  repertory 
of  Daly's  company  for  ten  seasons  or  more.  In 
revivals  after  Mr.  Drew  ceased  to  be  leading  man, 
Corliss  was  played  by  Francis  Carlyle,  Tambiirini 
by  Frederic  Bond  and  Henry  E.  Dixey,  and  for 
the  season  when  Mr.  Daly's  company  was  divided 
Percy  Haswell  replaced  Aliss  Rehan  as  Flos. 

The  Shaughraun,  a  dram.a  in  four  acts  by 
Dion  Boucicault,  was  produced  at  Wallack's  Thea- 
tre in  New  York  on  November  14,  1874,  with  Mr. 
Boucicault  as  Conn  and  Agnes  Robertson  as 
Moya.  Possessing  many  of  the  essential  character- 
istics which  had  made  his  Irish  dramas  popular, 
"The  Shaughraun"  naturally  gained  immediate 
success,  and  for  many  years  Mr.  Boucicault  and 
his  Conn  the  Shaughraun  were  the  reigning  sensa- 
tions of  each  successive  theatrical  season.  On  Sep- 
tember II,  1875,  at  the  Drury  Lane  Theatre  in 
London,  "The  Shaughraun"  had  its  first  perform- 
ance in  Great  Britain,  the  characters  being  thus  dis- 
tributed : 


Conn    Dion  Boucicault. 

Harvey  Duff   Shiel  Barry. 

Captain  Molyncux  William  Terriss. 

Robert  Ffoliiott   J.  B.  Howard. 

Father  Dolan David  Fisher. 

Khichela    Henry  Sinclair. 

Claire  Ffoliiott  Rose  Leclercq. 

Arte  O'Neale Marie  Dalton. 

Mrs.  O'Kelly  Mrs.  Everard. 

Moya   Agnes  Robertson. 


248  Pap^  of  tjjc  ^rcjsff  nt» 

At  this  performance  it  was  intended  that  Rose 
Cullen  should  play  Moya,  but  at  twenty-four  hours' 
notice  Miss  Robertson  (Mrs.  Boucicault)  took  the 
part  which  she  had  created  in  this  country. 

Of  the  play  and  of  the  performance  Joseph 
Knight,  one  of  the  most  distinguished  London 
dramatic  critics,  wrote :  "In  'Arrah-na-Pogue'  a 
pretty  story  of  affection  was  interwoven  with  the 
intrigue  of  rebellion,  thoroughly  idyllic  scenes  of 
love-making  were  successfully  introduced,  and  the 
whole  production  soared  into  the  regions  of  art. 
Contented  with  this  success,  Mr.  Boucicault  has 
relaxed  his  efforts,  and  'The  Shaughraun'  is  sim- 
ply 'Arrah-na-Pogue'  turned  inside  out.  Robert 
Ffolliott  is  Beamish  AI'Coiil,  Harvey  Duff  the  trai- 
tor is  Michael  Feeny,  Moya  Dolan  is  an  undevel- 
oped Arrah  Meelish,  and  Conn  O'Kelly  is  Shaun 
the  Post  minus  his  official  dignity.  To  the  minor 
characters  the  similarity  extends,  and  the  jokes,  the 
pictures  exhibited,  the  scene  of  the  action,  and  the 
character  of  the  incidents  all  share  in  the  resem- 
blance. .  .  .  On  the  whole,  the  garment  Mr. 
Boucicault  has  turned  is  good  enough  for  ordinary 
wear.  It  will  serve  the  purpose  of  filling  Drury 
Lane  Theatre  and  the  pockets  of  author  and  man- 
ager." 

For  many  years  the  character  of  Conn  was  Mr. 
Boucicault's  own,  but  the  time  came  when  other 
actors  took  up  the  part,  among  them  being  George 
W.  Wilson  of  the  Boston  Museum  stock  company 


DION  BOaCICAULT, 

As  Conn,  in  The  Sliaughraun. 


^\ii^^  of  tf^c  ^tc0ct\t  249 

and,  after  Boucicault's  death,  his  son  Aubrey. 
Among  the  well-known  representatives  of  Father 
Dolan  have  been  William  Warren,  C.  Leslie  Allen, 
Alfred  Hudson,  and  George  C.  Boniface;  Harvey 
Diiif  has  been  acted  by  D.  J.  Maguinnis,  Gus  Le- 
vick,  George  W.  Wilson,  and  Charles  S.  Abbe ; 
Robert  FfoUiott  by  George  H.  Curtis,  Edwin  Ar- 
den,  and  George  R.  Parks;  Moya  by  Mrs.  T.  ]\I. 
Hunter,  Sadie  ]\Iartinot,  and  INIiriam  O'Leary; 
Claire  FfoUiott  by  Rose  Coghlan  and  Louise 
Thomdyke;  and  Captain  Molyneux  by  Maurice 
Barrymore,  the  last  named  being  featured  in  the 
character  in  the  early  days  of  "The  Shaughraun's" 
history. 

Shenandoah,  a  drama  in  four  acts  by  Bronson 
Howard,  was  produced  at  the  Boston  Museum  on 
November  19,  1888,  the  cast  being  as  follows : 

Colonel  John  Haverill Thomas  L.  Coleman. 

Lieutenant  Kerchival  West John  B.  Mason. 

Captain  Heartsease Henry  M.  Pitt. 

Frank  Haverill  Edgar  L.  Davenport. 

Major-General     Irenaeus     Buck- 
thorn    C.  Leslie  Allen. 

Sergeant  Barket   George  W.  Wilson. 

Colonel  Robert  Ellingham Charles  J.  Bell. 

Captain  Thornton Willis  Granger. 

Corporal  Dunn   James  Nolan. 

Lieutenant  Hardwick   George  Blake. 

Captain  Lockwood  Herbert  Potter. 

Benson  Charles  S.  Abbe. 

Wilkins    Henry  MacDonna. 

Mrs.  Haverill Annie  M.  Clarke. 

Gertrude  Ellingham Viola  Allen. 

Madeline  West  Helen  Dayne. 


250  papjsf  of  tfjc  ^rc^cnt 


Jenny  Buckthorn   Miriam  O'Leary. 

Mrs.  Edith  Haverill Grace  Atwell. 

Old  Margery  Kate  Ryan. 

Janette   Miss  Harding. 


The  run  of  "Shenandoah"  at  the  Museum  lasted 
six  weeks,  during  which  period  it  achieved  no  great 
amount  of  popularity.  Its  success  came  later, 
when,  after  being  rewritten  by  Mr.  Howard,  it  was 
brought  out  at  the  Star  Theatre  in  New  York  on 
September  13,  1889,  the  cast  being  as  follows: 

General  Haverill  Wilton  Lackaye. 

Colonel  Kerchival  West  Henry  Miller. 

Captain  Heartsease    Morton  Selten. 

Frank   Haverill    {Lieutenant  Frank 

Bedloe)    G.  W.  Bailey. 

Major-General  Irenaeus  Buckthorn.  Harry  Harwood. 

Sergeant  Barket James  O.  Barrows. 

Colonel  Robert  Ellingham Lucius  Henderson, 

Captain  Thornton  John  E.  Kellerd. 

Corporal  Dunn    W.  J.  Cummings. 

Mrs.  Constance  Haverill Dorothy  Dorr, 

Gertrude  Ellingham  Viola  Allen. 

Madeline  West Nanette  Com  stock, 

Jenny  Buckthorn Effie  Shannon. 

Mrs.  Edith  Haverill Alice  B.  Haines. 


Later  in  the  season  "Shenandoah"  was  trans- 
ferred to  Proctor's  Theatre,  where  it  ran  until 
April  19,  1890,  the  final  performance  being  made 
a  gala  occasion  upon  which  the  leading  characters 
in  the  play  were  acted  during  its  representation  by 
various  actors.  Wilton  Lackaye,  Frank  Burbeck, 
and  George  Osborne  appeared  as  General  Haverill; 
Lucius  Henderson  and  Frank  Dayton  as  Colonel 


H.  J.  MONTAGUE, 

As  Captain    Molineux,   in    the  Sliauglu  «un . 


^Iap0  of  tjc  JDrciSfntt*  251 

Robert  Ellingham;  jNIorton  Selten  and  R.  A.  Rob- 
erts as  Captain  Heartsease;  Odette  Tyler  and  Lilla 
Vane  as  Gertrude  Ellingham;  Alice  Haines  and 
Nanette  Comstock  as  Jenny  Buckthorn;  and  Mrs. 
^Mary  Breyer  and  ]\Irs.  C.  A.  Haslam  as  Old  Mar- 
gery. The  following  season  "Shenandoah"  was 
given  on  the  road  by  practically  the  same  company, 
and  since  then  it  has  had  frequent  revivals. 


Sherlock  Holmes,  a  drama  in  four  acts  founded 
by  William  Gillette  on  certain  episodes  in  the  popu- 
lar detective  stories  by  Dr.  A.  Conan  Doyle,  was 
produced,  under  the  management  of  Charles  Froh- 
man,  at  the  Star  Theatre  in  Buffalo  on  October 
24,  1899,  and  at  the  Garrick  Theatre  in  New  York 
on  November  6  following,  the  cast  being  as  fol- 
lows : 

Sherlock  Holmes William  Gillette. 

Dr.  Watson  Bruce  McRae. 

John  Forman   Reuben  Fax. 

Sir  Ed-ii'ard  Leigh  ton Harold  Heaton. 

Count  Von  Stahlbnrg  Alfred  S.  Howard. 

Professor  Moriarty    George  Wessels. 

James  Larrabce  Ralph  Delmore. 

Sidney  Prince George  Honey. 

Alfred  Bassick  Henry  Herrman. 

Jim  Craigin  Thomas  McGrath. 

Thomas  Leary  Elwyn  Eaton. 

"Lightfoot"  McTague   Julius  Weyms. 

John    Henry  S.  Chandler. 

Parsons Soldene  Powell. 

Billy    Henry  McArdle. 

Alice  Faulkner    Katherine  Florence. 

Mrs.  Faulkner  Jane  Thomas. 


252  Ji>lap^  of  tl)c  ^tc^mt 

Madge  Larrabee Judith  Berolde. 

Therese Hilda  Englund. 

Mrs.  Smeedley  Kate  Ten  Eyck. 

The  New  York  engagement  continued  through- 
out the  season,  and  the  following  year  of  1900- 
1901  was  spent  by  Mr.  Gillette  and  his  company 
in  a  tour  of  the  United  States  which  included  all 
the  principal  Eastern  and  Western  cities.  The  play 
itself  was  a  melodrama  of  the  average  type,  and 
was  saved  from  commonplaceness  by  Mr.  Gillette's 
skill  as  a  playwright  and  actor.  On  September 
9,  1901,  it  began  a  long  run  at  the  Lyceum  Thea- 
tre in  London,  with  Mr.  Gillette  in  the  title  role, 
Percy  Lyndal  as  Doctor  Watson,  Sydney  Herbert 
as  John  Forman,  W.  L.  Abingdon  as  Professor 
Moriarty,  Ralph  Delmore  as  James  Larrabee, 
Maude  Fealy  as  Alice  Faulkner,  Ethel  Lorrimore 
as  Mrs.  Faulkner,  and  Charlotte  Granville  as 
Mads.e  Larrabee. 


"t)' 


The  Sign  of  the  Cross,  a  drama  in  five  acts  by 
Wilson  Barrett,  was  produced  at  the  Grand  Opera 
House  in  St.  Louis  on  March  28,  1895,  with  Mr. 
Barrett  in  the  leading  role  of  Marcus  Sitperbus, 
Maud  Jefifries  as  Mercia,  Maud  Hoffman  as  Bere- 
nis,  and  Miss  Brady  as  Foppaea.  It  was  not  given 
by  Mr.  Barrett  in  New  York  or  in  any  of  the 
Eastern  American  cities,  but  on  his  return  to  Lon- 
don, after  a  tour  of  the  English  provinces,  he  pre- 
sented it  at  the  Lyric  Theatre  on  January  4,  1896. 


^ 


WILLIAM  GILLETTE. 

As  Slierlook   Holines. 


Papjef  of  tj)c  5Drc^cnt  253 

The  cast  then  included  Mr.  Barrett  in  his  original 
role,  Franklin  McLeay  as  Nero,  Charles  Hudson 
as  Tigellinus,  Ambrose  Manning  as  Glabrio,  Maud 
Jeffries  as  Mercia,  Maud  Hoffman  as  Berenis, 
Daisy  Belmore  as  Dacia,  Grace  Warner  as  Pop- 
paea,  and  Haidee  Wright  as  Stephanus.  Since 
then  "The  Sign  of  the  Cross"  has  been  performed 
by  Mr.  Barrett's  company  and  by  numerous  sec- 
ondary troupes  throughout  Great  Britain. 

The  first  performance  of  Mr.  Barrett's  play  in 
New  York  came  at  the  Knickerbocker  Theatre  on 
November  9,  1896,  and  the  tour  then  begun  has 
been  followed  during  each  successive  season  by  a 
series  of  performances  which  have  attested  the 
popularity  of  "The  Sign  of  the  Cross"  in  this  coun- 
try. It  has  been  acted  here  invariably  by  an  Eng- 
lish company,  on  its  first  engagement  Charles  Dal- 
ton  appearing  as  Marcus  Superbus,  W.  A.  Elliott 
as  Nero,  G.  R.  Peach  as  Tigellinus,  Hubert  Druce 
as  Glabrio,  Lillah  McCarthy  as  Mercia,  Alida  Cor- 
tellyou  as  Berenis,  Lotta  Linthicum  as  Dacia,  Bar- 
bara Huntley  as  Poppaea,  and  Gertrude  Boswell 
as  Stephanus.  During  the  later  tours,  Irene  Rooke 
and  Lillie  Thurlow  appeared  as  Mercia,  W.  E. 
Bonney  as  Nero,  Ettie  Williams  and  Agnes  Scott 
as  Berenis,  Marjorie  Cavania  as  Dacia,  Marion 
Grey  as  Poppaea,  and  Maud  Warrilow  as  Ste- 
phanus. 

The  dialogue  of  "The  Sign  of  the  Cross"  was  a 
curiosity,  being  a  composite  of  all  periods  of  Eng- 


2  54  papjB?  of  tjjc  5PJ^e^fnt» 

lish  diction,  from  the  Elizabethan  through  the 
classic  English  of  the  King  James  Bible,  to  the 
latest  contemporary  idiom.  The  dramatist,  seem- 
ingly unable  to  command  the  dignity  and  sonority 
of  blank  verse,  did  the  next  best  thing  by  attempt- 
ing to  write  his  dialogue  in  archaisms.  His  comedy 
scenes  were  trivial  and  annoying,  breaking  the  co- 
herence of  the  narrative  and  adding  nothing  what- 
ever to  the  color  or  the  vigor  of  the  performance. 
The  popularity  of  the  play  came  through  its  ap- 
peal to  the  religious  sensibilities  of  both  the  theatre- 
going  and  the  non-theatre-going  public. 


The  Silver  King,  a  melodrama  in  five  acts  by 
Henry  Arthur  Jones  and  Henry  Herman,  was  pro- 
duced at  the  Princess's  Theatre  in  London  on  No- 
vember 1 6,  1882.  The  leading  characters  were 
thus  cast: 

Wilfrid  Denver  Wilson  Barrett. 

Nellie  Denver   Miss  Eastlake. 

Cissy  "      M.  Clitherow. 

Ned  "      C.  Burton. 

Daniel  Jaikes  George  Barrett. 

Frank  Selwyn  Neville  Doone. 

Geoffrey  Ware Brian  Darley. 

Samuel  Baxter   W.  Speakman. 

Captain  Herbert  Skinner  E.  S.  Willard. 

Henry  Corkett  Charles  Coote. 

Eliah  Coomhe   Clifford  Cooper. 

Cripps Frank  Huntley. 

Olive  Skinner  Dora  Vivian. 

Tabitha  Durden Mrs.  Huntley. 


pap^  of  tljc  JDrcjSfcnt  255 

"The  Silver  King"  has  probably  proved  the  most 
successful  melodrama  of  this  generation.  Written 
in  a  style  far  above  the  average  sensational  play, 
even  as  severe  a  critic  as  ]\Iatthew  Arnold  declared 
it  to  be  literature.  Special  preparations  were  made 
for  its  production  at  the  Princess's.  The  piece  was 
well  constructed,  and,  with  its  strong  dramatic 
story,  proved  even  more  interesting  than  the  pre- 
vious melodramas  which  Wilson  Barrett  had 
brought  out  at  that  house. 

In  a  great  measure  the  success  of  "The  Silver 
King"  was  due  to  ]\Ir.  Barrett  himself  in  the  title 
role.  Nothing  that  he  had  then  done  could  com- 
pare with  his  personation  of  Wilfrid  Denver.  One 
critic  declared  that  the  performance  was  the  per- 
fection of  natural  acting  combined  with  intellectu- 
ality, and  that  the  player  rose  to  a  height  of  tragic 
power  and  genius  not  unworthy  of  the  greatest 
actor  of  the  century.  The  Daniel  Jaikes  of  George 
Barrett  also  came  in  for  high  praise,  the  pathos 
and  humor  of  the  part  being  blended  with  rare 
skill. 

As  for  E.  S.  Willard,  his  Captain  Skinner  was  a 
revelation,  and  proved  a  new  type,  an  aristocratic 
leader  of  a  gang  of  burglars  who  committed  his 
crimes  in  faultless  evening  dress.  In  spite  of  the 
fact  that  there  were  thirty-four  speaking  parts, 
Mr.  Barrett  succeeded  in  filling  them  with  capable 
players. 


256  l^lap^  of  tf^c  ^te^mt 

The  melodrama  was  given  in  this  country  the 
season  after  its  production  in  London,  and  proved 
a  popular  success  wherever  presented.  But  it  was 
nearly  seven  years  after  Mr.  Barrett  and  his  bro- 
ther George  created  the  parts  of  Denver  and  Jaikes 
before  American  playgoers  had  an  opportunity  to 
see  them  in  these  characters,  and  the  excellence  of 
the  performance  justified  the  favorable  estimation 
it  had  received  from  the  English  critics. 

Sophia,  a  comedy  adapted  by  Robert  Buchanan 
from  "Tom  Jones,"  was  produced  at  the  Vaudeville 
Theatre,  London,  on  April  12,  1886.  IMr.  Bu- 
chanan set  himself  a  hard  task  when  he  undertook 
to  adapt  Henry  Fielding's  novel  to  the  contem- 
porary stage.  Here  was  a  work  which  presented 
with  wonderful  minuteness  the  manners  and  cus- 
toms of  a  bygone  age,  with  a  variety  of  incident 
and  a  wealth  of  character  which  made  it  one  of  the 
great  books  of  the  eighteenth  century.  And  it  was 
largely  the  correct  portraiture  of  his  time  that 
made  the  adaptation  of  Fielding's  story  a  difficult 
task.  A  book  so  full  of  coarseness  that  even  Paris 
at  first  prohibited  it  must  necessarily  undergo  an 
immense  amount  of  change  before  being  made  pre- 
sentable to  modern  playgoers,  and  Buchanan  ap- 
preciated this  thoroughly,  saying  in  his  prologue: 

Modes  of  speech  have  now  grown  nicer, 
Folks,  if  not  purer,  are  at  least  preciser. 


g)lnp^  of  tljc  JDrcjs'cnt,  257 

So  he  frankly  admitted  that  he  took  leave  to  purify 
the  character  of  his  hero  somewhat;  and  as  the 
other  characters  were  also  "purified,"  he  produced 
a  four-act  play  which  Fielding  would  have  found 
it  hard  to  recognize  as  having  been  adapted  from 
his  immortal  work. 

The  comedy  was  successful  on  its  first  presenta- 
tion, and  ran  for  more  than  a  year.  Charles  Glen- 
ney  as  Tom  Jones,  Royce  Carleton  as  Blifil,  Fred 
Thorne  as  Squire  Western,  Fuller  Mellish  as 
George  Seagrim,  and  Thomas  Thorne  as  Partridge 
were  all  in  the  original  cast,  while  Kate  Rorke 
made  a  charming  and  sympathetic  Sophia,  and 
Helen  Forsyth  gave  a  clever  portrayal  of  the  rus- 
tic Molly  Seagrim. 

A  play  so  successful  was  not  long  in  coming  to 
this  country,  and  on  November  4,  1886,  it  was 
given  its  first  American  performance  at  Wallack's 
Theatre,  New  York,  with  Kyrle  Bellew  as  the  hero 
and  Annie  Robe  as  the  heroine.  On  the  17th  of 
October,  1887,  Boston  first  saw  it  at  the  Museum, 
where  it  ran  for  several  weeks.  In  this  produc- 
tion William  Seymour  played  Squire  Western; 
Edgar  L.  Davenport,  BURl;  Charles  Barron,  Tom 
Jones;  and  George  W.  Wilson,  Partridge.  Of  the 
ladies,  Isabel  Evesson  was  the  Sophia,  May  Daven- 
port the  Molly  Seagrim,  and  Annie  Clarke  the 
Lady  Bellaston.  All  of  those  mentioned  were  dis- 
tinctly successful,  but  Mr.  Seymour's  own  person- 
ality was  so  completely  sunk  in  Squire  Western, 


258  5^IapjBf  of  t{jc  ^tt^cwt, 

whom  he  made  as  bluff  and  hearty  as  he  is  pic- 
tured in  the  novel,  that  his  impersonation  was  one 
of  the  most  artistic  the  piece  afforded. 

The  Squire,  a  comedy  in  three  acts  by  Arthur  W. 
Pinero,  was  produced  at  the  St.  James's  Theatre, 
London,  on  December  29,  1881.  "The  Squire" 
created  a  great  amount  of  discussion  subsequent 
to  its  production,  not  only  on  account  of  its  merits 
as  a  play,  but  because  of  the  supposed  similarity 
of  its  plot  to  that  of  Thomas  Hardy's  novel  "Far 
from  the  Madding  Crowd."  But  the  likeness 
between  the  novel  and  play  is  very  slight.  It  is 
true  that  in  both  there  is  a  woman  who  runs  a  farm, 
is  loved  by  a  servant  and  won  by  a  soldier,  and 
that  the  scene  takes  place  in  a  quiet  rural  English 
district.  But  Thorndyke  in  the  play  bears  no  re- 
semblance to  Sergeant  Troy,  Gilbert  Hythe  is  by  no 
means  Gabriel  Oak,  and  between  no  other  two 
characters  is  there  anything  akin.  Perhaps  Mr. 
Pinero  may  have  received  a  slight  suggestion  from 
Hardy's  novel,  but  if  he  did  it  would  only  show 
his  good  sense  in  going  to  an  excellent  fount  of 
inspiration. 

There  was,  moreover,  a  stage  version  of  "Far 
from  the  Madding  Crowd,"  made  by  the  novelist 
and  J.  Comyns  Carr,  brought  out  under  that  title 
at  the  Prince  of  Wales's  Theatre  in  Liverpool  on 
February  27,  1882.  Miss  Marion  Terry  acted  the 
character   of   Bathsheba   Everdene,   and    Charles 


^lap^  of  tl)c  ^rc^'cnt  259 

Cartwright  that  of  Sergeant  Troy.  When  the 
play  was  brought  to  London  and  performed  at 
the  Globe  Theatre  on  the  following  29th  of  April, 
Mrs.  Bernard  Beere  appeared  as  Bathsheha,  J.  H. 
Barnes  as  Troy,  and  Charles  Kelly  as  Gabriel  Oak. 
This  dramatic  version  of  Hardy's  novel  was  di- 
vided into  three  acts. 

The  cast  of  the  original  performance  of  "The 
Squire"  at  the  St.  James's  Theatre  was  as  follows : 

The  Rev.  Paul  Donner John  Hare. 

Lieutenant  Thorndyke  W.  H.  Kendal. 

Gilbert  Hythe  T.  N.  Wenman. 

Gunnion   Mr.  Mackintosh. 

Izod  Haggerston  T.-  W.  Robertson. 

Fell    Mr.  Martin. 

Robjohns,  Jr "     Brandon. 

The   Representative    of   the   Pagley 

Mercury    C.  Steyne. 

Kate  Verity  Mrs.  Kendal. 

Christiana  Haggerston   Ada  Murray. 

Felicity  Gunnion  Miss  Brereton. 

When  "The  Squire"  was  brought  out  in  this 
country  at  Daly's  Theatre,  New  York,  on  Octo- 
ber 10,  1882,  John  Drew,  Charles  Fisher,  James 
Lewis,  and  Ada  Rehan  appeared  in  the  leading 
roles.  A  year  later  it  ran  for  three  months  in  New 
York,  and  then  was  taken  on  tour,  Agnes  Booth 
giving  a  fine  womanly  portrayal  of  Kate  Verity, 
Charles  Fisher  appearing  as  Rev.  Paul  Dormer, 
Henry  Miller  as  Thorndyke,  Sydney  Cowell  as 
Christie,  Hattie  Russell  as  Felicity,  Fulton  Rus- 
sell as  Gilbert  Hythe,  and  E.  P.  Wilks  and  Mr. 
Beekman  respectively  as  Gunnion  and  Robjohns. 


26o  Plnp^  of  tfjc  5^rei0fnit» 

On  their  first  visit  to  America,  Mr.  and  Mrs. 
Kendal  did  not  present  "The  Squire,"  but  when 
they  came  here  the  next  season — 1890-1891 — they 
gave  Mr.  Pinero's  play,  with  themselves  in  their 
original  roles,  J.  E.  Dodson  as  Gunnion,  J.  H. 
Barnes  as  Hythe,  Mr.  Denison  as  Rev.  Paul  Dor- 
mer, Sydney  Cowell  as  Christie,  and  Miss  Camp- 
bell as  Felicity. 

Still  Waters  Run  Deep,  a  comedy  by  Tom  Tay- 
lor, was  produced  at  the  Olympic  Theatre  in  Lon- 
don on  May  14,  1855,  with  the  following  cast  of 
characters : 

John  Mildmay   Alfred  Wigan. 

Captain  Hawksley  George  Vining. 

Mr.  Potter  Samuel  A.  Emery. 

Dunbilk  Mr.  Danvers. 

Langford    "     Gladstone. 

Markham    J.  H.  White. 

Gimlet   H.  Cooper. 

Jessop    Mr.  Franks. 

Servant   "     Moore. 

Mrs.  Mildmay Miss  Maskell. 

Mrs.  Hector  Sternhold  Mrs.  Melfort. 

Mrs.  Sternhold  was  played  by  Mrs.  Melfort  the 
first  few  nights;  she  was  then  succeeded  by  Mrs. 
Alfred  Wigan.  The  origin  of  "Still  Waters  Run 
Deep"  lies  in  a  French  novel,  "Le  Gendre,"  by 
Charles  de  Bernard,  but  the  debt  owed  that  author 
by  the  English  dramatist  is  confined  exclusively 
to  the  meagre  story  about  which  has  been  woven 
a  web  of  passion  and  intrigue.    Both  the  writing. 


5Pi*W  i5f  tfjc  prcsnit  261 

which  is  fluent  and  natural,  and  the  dramatic  con- 
struction, which  wanders  through  a  clever  maze 
of  incident  to  a  rather  lame  and  impotent  conclu- 
sion, are  Tom  Taylor's  own. 

The  immediate  popularity  of  the  play  upon  the 
London  stage  aroused  a  tremendous  interest  on 
this  side  of  the  Atlantic.  So  keen  was  the  com- 
petition that  it  was  brought  out  in  New  York  at 
two  theatres  at  an  interval  of  only  two  days.  The 
race  was  won  by  Barnum's  Museum,  at  which 
house  it  was  produced  on  September  10,  1855,  "^^itli 
the  following  cast: 

John  Mildmay  C.  W.  Clarke. 

Captain  Hazuksley   E.  F.  Taylor. 

Mr.  Potter   Mr.  Bridgman. 

Dunbilk    George  Lingard. 

Longford  Mr.  Marlowe. 

Markham    George  Clarke. 

Gimlet    Mr.  Cunningham. 

Jessop     "     Forbes. 

Mrs.  Mildmav  Miss  Mestayer. 

Mrs.  Hector  Sternhold Mrs.  France. 

Two  days  later  the  production  at  Burton's  Thea- 
tre was  presented  to  the  expectant  New  York  pub- 
lic by  the  following  cast : 

John  Mildmav  William  E.  Burton. 

Captain  Hawkslcy  George  Jordan. 

Mr.  Potter  Mr.  Bradley. 

Dunbilk   Harry  Jordan. 

Langford  Mr.  Fredericks. 

Markham "     Gardner. 

Gimlet    "     Lawson. 

Jessop    "       GOURLAY. 

Mrs.  Mildmav  Miss  Raymond. 

Mrs.  Hector  Sternhold Mrs.  Hughes. 

17* 


262  ^lap^  of  tfjc  5^rcj5cnt. 

The  fame  of  "Still  Waters  Run  Deep"  spread 
so  rapidly  that  within  a  year  it  had  been  presented 
in  all  the  leading  cities  of  the  United  States.  Bos- 
ton playgoers  first  saw  it  at  the  Howard  Athenaeum 
on  September  28,  1855,  with  J.  S.  Browne  as  John 
Mildmay,  J,  M.  Field  as  Captain  Hazvksley,  E.  B. 
Williams  as  Mr.  Potter,  W.  L.  Ayling  as  Dnnbilk, 
Mrs.  J.  M.  Field  as  Mrs.  Mildmay,  and  Mrs.  W.  H. 
Smith  as  Mrs.  Sternhold.  Less  than  two  weeks 
later,  on  October  10,  the  play  was  staged  at  the 
Boston  Museum,  with  William  Warren  as  John 
Mildmay,  E.  F.  Keach  as  Captain  Hazvksley,  Mr. 
Joyce  as  Mr.  Potter,  Mr.  Whitman  as  Dnnbilk, 
Harry  Bascomb  as  Longford,  Mrs.  Skerrett  as 
Mrs.  Mildmay,  and  Mrs.  J.  R.  Vincent  as  Mrs. 
Sternhold.  On  the  17th  of  December  the  Boston 
Theatre  company,  with  John  Gilbert  as  Mildmay, 
]\Ir.  Belton  as  Hazvksley,  W.  H.  Curtis  as  Potter, 
"Nick"  Davenport  as  Dnnbilk,  Julia  Bennett  Bar- 
row as  Mrs.  Mildmay,  and  Mrs.  H.  Kirby  as  Mrs. 
Sternhold,  presented  "Still  Waters  Run  Deep." 
Troy,  Philadelphia,  Cincinnati,  St.  Louis,  Charles- 
ton, Providence,  and  other  theatrical  centres  seized 
upon  Tom  Taylor's  work  as  soon  as  they  could  get 
hold  of  it.  On  January  9,  1856,  it  was  given  for 
the  first  time  at  Wallack's  Theatre,  with  Charles 
Walcot  as  Mildmay,  John  Brougham  as  Hazvksley, 
Mrs.  Hoey  as  Mrs.  Sternhold,  and  Miss  E.  Ray- 
mond, who  had  come  from  Burton's,  as  Mrs.  Mild- 
may.    On  the  1 6th  of  January,  Laura  Keene  ap- 


Pap^ef  of  tljc  prcsnit,  263 


peared  at  her  own  theatre  as  Mrs.  Mildmay,  with 
Kate  Reignolds  as  ]\Irs.  Stcrnhold,  John  Dyott  as 
Mildmay,  and  George  Jordan  as  Hazvksley.  A 
favorite  cast  of  Tom  Taylor's  play  in  this  country 
was  that  in  which  J.  W.  Wallack  was  seen  as  John 
Mildmay,  E.  L.  Davenport  as  Captain  Hawkslcy, 
Mrs.  J.  W.  Wallack,  Jr.,  as  Mrs.  Stcrnhold,  and 
Mrs.  E.  L.  Davenport  as  Mrs.  Mildmay. 

At  the  Royal  Princess's  Theatre,  in  Oxford 
Street,  London,  a  performance  of  "Still  Waters 
Run  Deep"  was  given  on  September  17,  1863, 
under  the  management  of  Walter  Montgomery, 
who  played  Mildmay.     The  rest  of  the  cast  was : 

Hawksley    E.  F.  Edgar. 

Potter    Mr.  Fitzjames. 

Dtinbilk   "     Meagreson. 

Gimlet    "     Moreland. 

Langford "     Clifton. 

Markham    G.  Dawson. 

Mrs.  Sternhold  Miss  Atkinson. 

Mrs.  Mildmay  Kate  Saville. 

A  performance  at  the  Queen's  Theatre,  London, 
in  May,  1867,  is  notable  for  the  fact  that  Ellen 
Terry  played  Mrs.  Mildmay,  with  Alfred  Wigan 
as  Mildmay,  Charles  Wyndham  as  Hawksley,  and 
Mrs.  Wigan  as  Mrs.  Sternhold. 

On  July  6,  1872,  Alfred  Wigan  took  his  farewell 
benefit  at  Drury  Lane,  under  the  patronage  of  the 
Prince  and  Princess  of  Wales,  when  Tom  Taylor's 
comedy  was  presented,  with  Mr.  and  Mrs.  Wigan 
in  their  original  roles.    On  March  13,  1880,  at  the 


264  pap^sf  of  tljc  ^f^rciefcnt. 

St.  James's  Theatre  in  London,  the  following  no- 
table cast  appeared : 

John  Mildmay  Mr.  Kendal. 

Captain  Hawksley William  Terriss. 

Mr.  Potter John  Hare. 

Dunbilk    T.  N.  Wenman. 

Langford   Mr.  Brandon. 

Markham  "      Draycott. 

Gimlet "     Denny. 

Jcssop   Albert  Chevalier. 

Clerk  Mr.  De  Verney. 

Mrs.  Mildmay  Miss  Grahame. 

Mrs.  Sternhold   Mrs.  Kendal. 

Mr.  Hare  excelled  himself  in  the  comparatively 
small  part  of  Potter,  and  was,  as  one  critic  ex- 
pressed himself,  "a  keen  instance  of  unexaggerated 
eccentricity."  The  Kendals  played  Mr,  Mildmay 
and  Mrs.  Sternhold  during  their  tour  of  this  coun- 
try in  1 893-1 894. 

At  the  Criterion  Theatre  in  London  on  January 
19,  1889,  the  comedy  was  revived  with  Charles 
Wyndham  as  Mildmay,  Herbert  Standing  as 
Hazvksley,  William  Blakeley  as  Potter,  Mary 
Moore  as  Mrs.  Mildmay,  and  Mrs.  Bernard-Beere 
as  Mrs.  Sternhold.  As  might  have  been  expected, 
Mr,  Wyndham  failed  to  realize  the  character  of 
Mildmay,  while  Mrs.  Bernard-Beere  dressed  Mrs. 
Sternhold  in  a  fanciful  French  fashion  that  would 
have  struck  terror  to  the  heart  of  that  British 
matron.  It  was  said  at  the  time  that  the  actress 
had  recently  won  a  large  sum  at  Monte  Carlo,  and 
that  her  extravagant  dressing  was  an  attempt  to 


Pap^  of  tljc  5f)rc^cnt,  265 

spend  some  of  the  money  thus  acquired.  The  crit- 
ics tried  to  excuse  the  faikire  of  the  players 
by  abusing  the  play,  and  "time-worn,"  "ill-con- 
structed," "played-out,"  and  similar  terms  were 
applied  to  Tom  Taylor's  work. 

A  Story  of  Waterloo,  a  play  in  one  act  by  Dr. 
A.  Conan  Doyle,  was  produced  at  Bristol,  Eng- 
land, on  September  21,  1894,  under  the  title  of 
"The  Straggler  of  '15."  After  this  single  per- 
formance its  title  was  changed  to  "A  Story  of 
Waterloo,"  and  under  that  name  it  was  given  at 
the  Garrick  Theatre  in  London  at  a  special  mati- 
nee on  December  17  of  the  same  year.  The  cast 
was  as  follows : 

Corporal  Gregory  Breii'stcr  Henry  Irving. 

Sergeant  Archie  McDonald   Mr.  Haviland. 

Colonel  James  Midwinter Fuller  Mellish. 

Nora  Brewster  Annie  Hughes. 

Its  success  was  so  great  that  it  was  added  to 
Irving's  repertory,  and  on  September  21,  1895,  it 
was  first  given  in  America  at  the  Academy  of 
Music  in  Montreal,  this  being  the  anniversary  of 
its  production.  Since  that  time  the  little  play  has 
become  familiar  to  American  playgoers,  and  Lau- 
rence Irving  has  been  seen  on  several  occasions  as 
Colonel  Midwinter,  the  character  of  the  old  cor- 
poral remaining  one  of  the  best  of  the  many  im- 
personations of  the  elder  Irving.    Of  late  years  the 


266  Pap^ef  of  tijc  ^rc^cnt. 

title  of  the  piece  has  been  shortened,  and  now  it  is 
usually  announced  as  "Waterloo." 

The  Sunken  Bell,  a  poetical  play  in  five  acts 
adapted  by  Charles  Henry  Meltzer  from  "Die  Ver- 
sunkene  Glocke"  of  Gerhart  Hauptmann,  was  pro- 
duced at  the  Hollis  Street  Theatre  in  Boston  by 
E.  H.  Sothern  and  Virginia  Harned  on  December 
21,  1899,  the  cast  being  as  follows : 

Heinrich E.  H.  Sothern. 

Magda    Rebecca  Warren. 

™,    .    ^,  ., ,  ^  Clara  Cubitt. 

Their  Children  |  ^^^^^  Taliaferro. 

The  Vicar  Arthur  R.  Lawrence. 

The  Schoolmaster  Roydon  Erlynne. 

The  Barber  Owen  Fawcett. 

Old  Wittikin C.  P.  Flockton. 

Rautendelcin  Virginia  Harned. 

The  Nickelmann  Rowland  Buckstone. 

The  Wood  Sprite  Norman  Parr. 

First  Elf  Edna  Philips. 

Second  Elf  Edna  Crawford. 

Third  Elf Irene  Rooke. 

Fourth  Elf May  Johnson. 

"Die  Versunkene  Glocke"  was  one  of  the  great 
successes  of  recent  years  on  the  German  stage,  and 
in  that  country  such  a  fairy-tale  as  the  drama  pre- 
sented was  easily  understood  by  theatre-going  peo- 
ple. The  serious  poetic  drama  which  introduces 
witches,  gnomes,  and  demons  seems  rather  strange 
to  playgoers  here,  however,  and  it  was  a  brave  un- 
dertaking on  Mr.  Sothern's  part  to  attempt  Haupt- 
mann's  beautiful  play.    He  was  fortunate  in  hav- 


5^lap3Sf  of  tjc  J^rcjefcnt,  267 

ing  an  excellent  version  made  by  Mr.  Aleltzer,  who 
freely  rendered  the  German  lines  into  English 
verse,  and  also  fortunate  in  the  original  incidental 
music,  including  the  preludes  and  intermezzos, 
composed  for  the  production  by  Aime  Lachaume. 
The  music  was  a  most  important  feature,  plainly 
betraying  the  musician  in  its  workmanship ;  it  was 
always  exactly  fitted  to  the  situation  and,  with  its 
unobtrusive  suggestiveness,  had  a  great  power  of 
poetic  effect.  One  critic  said  that  "he  could  almost 
call  it  the  first  incidental  music  to  a  modern  roman- 
tic drama  that  he  had  been  thoroughly  glad  to 
hear."  As  to  the  play  itself,  it  was  agreed  that  it 
was  fantastical,  weird,  and  pictorial,  its  appeal 
being  largely  to  the  eye,  for  such  a  series  of  en- 
trancingly  beautiful  and  poetic  stage  pictures  had 
been  rarely  seen  before. 

Mr.  Sothem,  as  the  bell-founder,  delivered  his 
speeches  as  if  he  felt  their  poetry  as  well  as  their 
sense,  and  showed  the  heights  to  which  he  could 
attain,  while  Miss  Harned  never  forgot  the  super- 
natural side  of  the  character  of  Rautendelein.  The 
whole  production  was  an  artistic  delight  to  those 
who  like  to  see  a  play  perfectly  presented,  but  the 
style  of  the  piece  was  foreign  to  what  American 
theatre-goers  were  accustomed  to  seeing,  and  Mr. 
Sothern,  after  giving  four  performances  of  "The 
Sunken  Bell"  in  Boston  and  a  few  in  other  cities, 
dropped  from  his  repertory  one  of  the  great  dramas 
of  modern  times. 


268  pap^  of  tfjc  prcj0fcnt. 

Sweet  Lavender,  a  comedy  in  four  acts  by  Ar- 
thur W.  Pinero,  was  produced  at  Terry's  Theatre 
in  London  on  March  21,  1888,  and  won  instant 
favor  from  the  EngHsh  theatre-going  pubHc.  The 
cast  was  as  follows : 

Geoffrey  Wedderhurn  Brandon  Thomas. 

Clement  Hale  Bernard  Gould. 

Dr.  Delaney  Alfred  Bishop. 

Dick  Phenyl  Edward  Terry. 

Horace  Bream  F.  Kerr. 

Mr.  Maw Sant  Matthews. 

Mr.  Bulger  T.  C.  Valentine. 

Airs.  GimiUan   M.  A.  Victor. 

Minnie    Maude  Millett. 

Ruth  Rolt  Carlotta  Addison. 

Lavender   Rose  Norreys. 

The  next  season  two  productions  in  this  country 
attested  the  value  and  popularity  of  Mr.  Pinero's 
work.  It  was  produced  at  the  Lyceum  Theatre 
in  New  York,  under  the  management  of  Daniel 
Frohman,  on  November  12,  1888,  the  cast  being: 

Geoffrey  Wedderhurn   Charles  Walcot. 

Clement  Hale  Henry  Miller. 

Dr.  Delaney   T.  C.  Valentine. 

Dick  Phenyl  W.  J.  Le  Moyne. 

Horace  Bream  Herbert  Kelcey. 

Mr.  Maw  Walter  Bellows. 

Mr.  Bulger  W.  B.  Royston. 

Mrs.  Gilfillian Mrs.  Thomas  Whiffen. 

Minnie    Georgia  Cayvan. 

Ruth  Rolt  Mrs.  Charles  Walcot. 

Lavender   Louise  Dillon. 

On  the  following  31st  of  December,  the  stock 
company  at  the  Boston  Museum  presented  Mr. 


gHapsf  of  tfjc  prcjsfcnt.  269 

Pinero's  play  for  the  first  time  in  that  city,  where 
it  ran  for  several  months  and  received  frequent  re- 
vivals during  the  immediately  ensuing  seasons. 
The  cast  was : 

Geoffrey  Wedderhurn H.  M.  Pitt. 

Clement  Hale   Edgar  L.  Davenport. 

Dr.  Delaney  T.  L.  Coleman. 

Dick  Phenyl George  W.  Wilson. 

Horace  Bream   John  B.  Mason. 

Mr.  Maw  H.  P.  Whittemore. 

Mr.  Bulger C.  S.  Abbe. 

Mrs.  Gilfillian  Fanny  Addison. 

Minnie  Viola  Allen. 

Ruth  Rolt Annie  Clarke. 

Lavender Miriam  O'Leary. 

There  were  several  changes  in  the  London  cast 
during  the  run  at  Terry's  Theatre,  T.  C.  Valentine 
coming  to  New  York  to  stage  the  play  at  the  Ly- 
ceum Theatre  and  Rose  Norreys  being  replaced  by 
Blanche  Horlock. 


Tess  of  the  D'Urbervilles,  a  drama  in  four  acts 
by  Lorimer  Stoddard,  from  Thomas  Hardy's  novel 
of  the  same  name,  was  produced  by  Mrs.  Fiske  at 
the  Fifth  Avenue  Theatre  in  New  York  on  March 
2,  1897,  the  cast  being  as  follows : 

Angel  Clare   Edward  M.  Bell. 

Alec  Stoke-D'Urberville  Charles  Coghlan. 

John  Durbeyfield John  Jack. 

Abraham  Durbey field Alice  Pierce. 

Farmer  Crick  W.  L.  Branscombe. 

Jonathan    Wilfrid  North. 

Tim   Alfred  Hickman. 


270  papjGf  of  tftc  ^rcjefcnt 


James    W.  E.  Butterfield. 

Bailiff   W.  L.  Branscombe. 

Joan  Durbeyfield Mary  E.  Barker. 

Tess Minnie  Maddern  Fiske. 

'Lisa  Lu  Edith  Wright. 

Marian    Annie  Irish. 

Izz   Nellie  Lingard. 

Retty  Bijou  Fernandez. 

Mrs.  Fiske's  impersonation  of  Tess  was  imme- 
diately hailed  as  one  of  the  most  remarkable  pieces 
of  acting  known  to  the  modern  stage.  She  con- 
tinued to  act  Tess  in  New  York  and  through  the 
country  for  three  seasons,  and  the  play  still  re- 
mains in  her  repertory.  Alec  D'Urberville  has 
been  played  by  Frederic  de  Belleville,  Angel  Clare 
by  Forrest  Robinson  and  John  Craig,  John  Dur- 
beyfield by  W.  J.  Le  Moyne,  and  Marian  by  Elea- 
nor Lane,  Olive  Hofif,  and  Mary  Shaw. 

In  1900  another  version  of  Mr.  Hardy's  novel, 
made  by  H.  A.  Kennedy,  was  given  at  the  Comedy 
Theatre,  London,  and  in  various  provincial  thea- 
tres, with  Mrs.  Lewis  Waller  in  the  title  role;  but 
as  the  dramatic  rights  to  "Tess  of  the  D'Urber- 
villes"  in  England  were  owned  by  Mrs.  Fiske,  it 
was  soon  withdrawn. 


Too  Much  Johnson,  a  farce  in  three  acts  adapted 
by  William  Gillette  from  "La  Plantation  Thomas- 
sin,"  by  Maurice  Ordonneau,  was  produced  at  the 
Opera  House  in  Holyoke,  Massachusetts,  on  Oc- 
tober 25,  1894.    The  original  French  play  had  its 


/ 


MRS.  FISKE, 

As  Tess. 


PapjBf  of  tftc  JDrcjGf  cnt.  2  7 1 

first  presentation  at  the  Folies  Dramatiques  in 
Paris  on  June  i,  1891,  an  English  version  by  Wil- 
liam Yardley  being  performed  under  the  title  of 
"The  Planter"  at  the  Prince  of  Wales's  Theatre  in 
London  on  October  31,  1891.  "Too  Much  John- 
son" reached  New  York  on  November  26,  1894, 
and  there  began  a  reign  of  unbounded  popularity 
which  continued  several  seasons.  The  cast  was 
as  follows : 

Mr.  Augustus  Billings William  Gillette. 

Airs.  Augustus  Billings Maud  Haslam. 

Mrs.  S.  Upton  Batterson Kate  Meek. 

Mr.  Francis  Faddish Samuel  Reed. 

Leonora  Faddish  Marie  Greenwald. 

Henry  Macintosh   S.  Miller  Kent. 

Joseph  Johnson,  Esq Ralph  Delmore. 

M.  Leon  Dathis  Harry  Bell. 

Frederick   Robert  Hickman. 

Steward    Benjamin  Hendricks. 

Mr.  Sellery  Looton  Thomas  Erison. 

Messenger   Cecil  Lionel. 

A  London  engagement  of  "Too  Much  Johnson" 
began  at  the  Garrick  Theatre  on  April  18,  1898, 
Mr.  Gillette  appearing  as  Billings,  Ida  Conquest 
as  Mrs.  Billings,  Kate  Meek  as  Mrs.  Batterson, 
Samuel  Reed  as  Francis  Faddish,  Hope  Ross  as 
Leonora  Faddish,  Arnold  Daly  as  Henry  Mac- 
intosh, Joseph  Brennan  as  Joseph  Johnson,  and 
Joseph  Francoeur  as  M.  Leon  Dathis.  On  his  re- 
turn to  this  country,  Mr.  Gillette  reappeared  in 
New  York  at  the  Empire  Theatre  on  August  29, 
1898,  the  cast  being  identical  with  that  of  the  Lon- 


272  ^lapjBf  of  t^t  ^rc^cnt 

don  engagement.  "Too  Much  Johnson"  has  been 
occasionally  revived  at  stock  theatres  throughout 
the  United  States. 

La  Tosca,  a  melodrama  in  five  acts  by  Victorien 
Sardou,  was  produced  at  the  Theatre  de  la  Porte 
St.  Martin  in  Paris  on  November  24,  1887.  The 
cast  was : 

Baron  Scarpia  Pierre  Berton. 

Mario  Cavaradossi M.  Dumeny. 

Cesare  Angelotti M.  Rosney. 

Marquis  Attavanti  M.  Francis. 

Eusebe  M.  Lacroix. 

Vicomte  de  Trevilhac M.  A.  Violet. 

Trevulce    M.  Deschamps. 

Barletta  M.  Bonyer. 

Sciarrone    M.  Piron. 

Paisicllo    M.  Mollet. 

Diego,  Prince  d'Arragon M.  Delile. 

Mgr.  Scaferelli  M.  Deschappeles. 

Gennarino  M.  Shenstone. 

Floria  Tosca   Sarah  Bernhardt. 

Reine  Marie  Caroline Mme.  Bouche. 

Princesse  Orlonia   Mlle.  Ange. 

Luciana  "       Durand. 

All  Paris  assembled  to  see  Bernhardt  in  the  new 
play  by  the  French  master  of  melodrama.  Yet 
at  the  close  of  the  performance  the  opinion  of  the 
audience  was  so  diverse  that  strenuous  objections 
were  made  to  the  proclamation  of  the  name  of  the 
author.  "Ladies  and  gentlemen,"  began  Pierre 
Berton,  who  had  just  finished  his  trying  imper- 
sonation of  Baron  Scarpia,  "the  piece — " 

"Bernhardt,  Bernhardt!"  shouted  the  audience. 


FANNY  DAVENPORT, 

As   Fiona  Tosca,   in   La  Tosea. 


papjef  of  tljc  J)rc.0nit,  273 

The  actor  hesitated,  and  loud  cries  for  Bernhardt 
were  again  mingled  with  demands  for  the  name 
of  the  author.  Berton  tried  to  proceed.  "Ladies 
and  gentlemen,  the  piece  which  we  have  had  the 
honor — •" 

Again  he  was  interrupted,  half  the  house  being 
for,  half  against  Sardou.  The  actor  then  bowed 
and  left  the  stage  in  search  of  Bernhardt,  but  she 
refused  to  appear.  "Go  on  and  make  the  announce- 
ment," she  said. 

Once  more  Berton  tried,  and  this  time  was  suc- 
cessful. Then  the  actress  came  forward,  and  the 
applause  which  followed  was  in  marked  contrast 
to  that  which  greeted  Sardou's  name.  "Bravo, 
bravo !"  and  "Vive  Sarah !"  resounded  throughout 
the  house,  and  then  the  audience  dispersed. 

The  following  July  London  playgoers  had  an 
opportunity  to  see  the  French  actress  as  Floria 
Tosca,  and  in  February,  1891,  she  first  played  the 
part  in  this  country.  Meanwhile  Fanny  Davenport 
had  secured  the  American  rights  to  an  English 
version  of  the  play,  and  the  season  that  it  was  pro- 
duced in  Paris  she  brought  it  out  here.  Her  ven- 
ture proved  a  great  success,  and  the  drama  was 
continued  in  her  repertory,  while  after  her  death 
Melbourne  MacDowell  and  Blanche  Walsh  starred 
in  it. 

The  Tree  of  Knowledge,  a  drama  in  five  acts  by 
R.  C.   Carton,  was  produced  at  the  St.  James's 
18 


2  74  ^lap^  of  tftc  ^rcj^cnt. 

Theatre  in  London  on  October  25,  1897,  by  George 
Alexander  and  his  company,  the  cast  being  as 
follows : 

Nigil  Stanyon  George  Alexander. 

Sir  Mostyn  HolUngwortli W.  H.  Vernon. 

Brian  Hollingworth  Fred  Terry. 

Loftus  Roupell Henry  B.  Irving. 

Major  Blencoe  Henry  V.  Esmond. 

Sweadle    George  Shelton. 

Royds    H.  Ives. 

Mrs.  _  Stanyon  Carlotta  Addison. 

Monica  Blayne  Fay  Davis. 

Deborah  Sweadle   Winifred  Dolan. 

Belle    Julia  Neilson. 

A  few  strong  dramatic  scenes  and  the  really 
witty,  mordant  dialogue  of  "The  Tree  of  Know- 
ledge" were  the  only  things  that  made  it  accept- 
able. Mr.  Carton's  earlier  manner,  which  reached 
its  climax  in  the  mildly  diverting  "Liberty  Hall," 
still  clung  to  him,  and  resulted  in  diffusing  the 
strength  of  a  play  which  could  have  no  abiding- 
place  for  Dickensish  characters  and  conventional 
comic  love  interludes.  The  weakness  of  his  first 
act  was  radical,  and  the  last  act  was  almost  be- 
neath criticism,  for  it  simply  gathered  up  the  sepa- 
rated strands  of  a  thread  of  plot  which  might  just 
as  well  have  been  left  ungathered.  All  in  all,  Mr. 
Carton  was  not  a  startling  success  in  his  attempt 
to  imitate  the  Continental  and  English  writers  of 
problem  plays.  He  has  a  caustic  wit  of  his  own, 
even  more  telling  in  its  way  than  his  rivals',  but 
he  has  so  far  evolved  no  problem  worth  the  think- 


3^lapief  of  tf)c  ^prcjEfcnt,  275 

ing  about.  His  characters  are  all  stencil-plate  fig- 
ures, the  common  property  of  the  melodramatist. 
The  American  rights  to  Mr.  Carton's  play  were 
secured  by  Daniel  Frohman,  and  it  was  performed 
for  the  first  time  in  this  country  on  January  24, 
1898.     The  cast  was : 

Nigil  Stauyon Edward  J.  Morgan. 

Sir  Mostyii  Hollingworth Charles  Walcot. 

Brian  Hollingzvorth  Frank  R.  Mills. 

Loftus  Roupell William  Courtleigh. 

Major  Blencoe  Felix  Morris. 

Sweadle   John  Findlay. 

Royds   Thomas  Whiffen,  Jr. 

Monica   Mary  Mannering. 

Mrs.  Stanyon  Mrs.  Thomas  Whiffen. 

Deborah  Szc'cadle   Alison  Skipworth. 

Belle   Julie  Off. 

Shortly  after  the  opening  performance  of  "The 
Tree  of  Knowledge"  at  the  Lyceum  Theatre,  James 
K.  Hackett  replaced  Mr.  JMorgan  as  Nigil  Stan- 
yon, and  George  Alison  succeeded  Mr.  Mills. 


Trelawny  of  the  Wells,  a  comedy  in  four  acts 
by  Arthur  W.  Pinero,  was  produced  at  the  Royal 
Court  Theatre  in  London  on  January  20,  1898. 
The  cast  was  as  follows : 

James  Telfer Athol  Forde. 

Augustus  Colpoys  E.  M.  Robson. 

Ferdinand  Gadd Gerald  Du  Maurier. 

Tom  Wrench   Paul  Arthur. 

Mrs.  Telfer  (Miss  Violet  Sylvester)  Mrs.  E.  Saker. 

Avonia  Bunn   Pattie  Browne. 

Rose  Trelawny Irene  Vanbrugh. 


276  p\np0  Of  tlje  ^rc^cnt. 


Imogen  Parrott  Hilda  Spong. 

O'Dwyer Richard  Purdon. 

r  Mr.  Vernon. 
Members  of  the  company  of  the  J     "     Foster. 

Pantheon  Theatre |    "     Melton. 

[  Miss  Baird. 

Hall-keeper  at  the  Pantheon W.  H.  Quinton. 

Vice-CJiancellor  Sir  William  Gower, 

Kt Dion  Boucicault. 

Arthur  Gower James  Erskine. 

Clara  de  Foenix  Eva  Williams. 

Miss  Trafalgar  Gower Isabel  Bateman. 

Captain  de  Foenix Sam  Sothern. 

Mrs.  Mossop  Miss  Le  Thiere. 

Mr.  Ablett  Fred  Thorne. 

Charles  Aubrey  Fitzgerald. 

Sarah    Polly  Emery. 

Inasmuch  as  a  new  play  by  Mr.  Pinero  had  come 
to  be  considered  a  feature  of  the  American  season, 
its  rights  for  this  country  were  immediately  se- 
cured by  Daniel  Frohman,  and  on  November  22, 
1898,  it  was  performed  for  the  first  time  here 
by  his  stock  company  at  the  Lyceum  Theatre,  New 
York.  The  unconventionality  and  originality  of 
"Trelawny  of  the  Wells"  secured  it  an  immediate 
success.  Mr.  Pinero  had  written  better  plays,  but 
it  is  extremely  doubtful  if  he  had  written  any 
which  combined  fantasy,  romance,  and  genuine  hu- 
man nature  in  such  equal  proportions.  To  this 
may  be  attributed  its  popularity.  It  ran  at  the  Ly- 
ceum Theatre  until  the  following  spring,  the  cast 
being  as  follows : 

Tom  Wrench  Edward  J.  Morgan. 

Ferdinand  Gadd   William  Courtleigh.- 

James  Telfer   George  C.  Boniface. 


g)lap^  of  rtjc  l^rc^'citt.  277 


Augustus  Colpoys Charles  W.  Butler. 

Rose  Trelazi'uy Mary  IMannering. 

Avonia  Bunn Elizabeth  Tyree. 

Mrs.  Telfcr  Mrs.  Charles  Walcot. 

Imogen  Parrott  Hilda  Spong. 

O'Dzcyer    Grant  Stewart. 

Mr.  Dcnzil Thomas  Whiffen, 

Mr.  Mortimer   Louis  Anderson. 

Mr.  Hunston   Edward  Castano. 

Miss  Breiustcr  Rachel  Ford. 

Hall-keeper  at  the  Pantheon  . .  E.  H.  Wilkinson. 
Vice-Chancellor     Sir     William 

Gower,  Kt Charles  Walcot. 

Arthur  Goicer  Henry  Woodruff. 

Clara  de  Foenix Helma  Nelson. 

Miss  Trafalgar  Gower Ethel  Hornick. 

Captain  de  Foenix H.  S.  Taber. 

Mrs.  Mossop  Mrs.  Thomas  Whiffen. 

Mr.  Ablett   John  Findlay. 

Charles  William  Eville. 

Sarah    Blanche  Kelleher. 

It  was  afterward  played  on  tour  by  the  Lyceum 
company,  and  the  next  season  was  briefly  revived 
with  changes  in  the  cast  involving  John  Mason's 
appearance  as  Tom  Wrench,  Grant  Stewart's  as 
Ferdinand  Gadd,  William  Courtenay's  as  Arthur 
Gozver,  and  Eva  Vincent's  as  Mrs.  Mossop.  In 
"Trelawny  of  the  Wells"  Mr.  Pinero  represented 
faithfully  a  meagre  section  of  the  theatrical  world 
of  London  in  the  sixties.  Over  it  all  he  cast  a 
gentle  halo  of  extravagance,  his  story  being,  never- 
theless, entertaining,  coherent,  and  logical. 


Trilby,  a  play  in  four  acts  dramatized  by  Paul  M. 
Potter  from  George  Du  jMaurier's  novel  of  the 
same  name,  was  produced  at  the  Park  Theatre  in 
18* 


2  78  ^lapjsf  of  tf)c  ^rcjGfcnt, 

Boston,  under  the  management  of  A.  M.  Palmer, 
on  March  ii,  1895.    The  cast  was  as  follows: 

Taffy    Burr  McIntosh. 

The  Laird John  Glendinning. 

Little  Billee  Alfred  Hickman. 

Svengali    Wilton  Lackaye. 

Gecko  Robert  Paton  Gibbs. 

Zousou    Leo  Dietrichstein. 

Dodor    Herbert  Ayling. 

Antony    V.  M.  De  Silke. 

Larimer  Edwin  Brandt. 

Rev.  Thomas  Bagot Edward  L.  Walton. 

Manager  Kaw  Reuben  Fax. 

Philippe  Morel  Bean. 

Trilby    Virginia  Harned. 

Mrs.  Bagot Bertha  Welby. 

Mme.   Vinard    Mathilde  Cottrelly. 

Angele  Grace  Pierrepont. 

Honorine Lucille  Nelson. 

Mimi    MoNTA  Elmo. 

Musette  Josephine  Bennett. 

"Trilby"  on  the  stage  became  the  rage  of  the 
hour.  It  was  brought  out  in  New  York  at  the  Gar- 
den Theatre  on  the  15th  of  April,  the  only  changes 
in  the  above  cast  being  the  appearance  of  Alexis 
L.  Gisiko  as  Dodor  and  of  Rosa  Rand  as  Mrs. 
Bagot.  On  September  7,  1895,  it  was  given  its 
first  performance  in  Great  Britain  at  the  Theatre 
Royal,  Manchester,  under  the  management  of  Beer- 
bohm  Tree;  and  on  the  following  October  30  it 
opened  the  season  in  London  at  the  Haymarket 
Theatre,  the  cast  in  both  cases  being  as  follows : 

Svengali  Beerbohm  Tree. 

Taify  Edmund  Maurice. 

The  Laird  Lionel  Brough. 


Papj0f  of  rtje  JDrcjsnit.  2  7  9 


Little  Billee Patrick  Evans. 

Gecko    C.  M.  Hallard. 

Zotisou  Herbert  Ross. 

Dodor   Gerald  Du  Maurier. 

Antony   Berte  Thomas. 

Larimer    Gayer  Mackay, 

Rev.  Thomas  Bagot  Charles  Allan. 

Manager  Kaw Holman  Clark. 

Trilby   Dorothea  Baird. 

Mrs.  Bagot  Frances  Ivor. 

Mme.  Vinard Annie  Hughes. 

Angele    Cicely  Turner. 

Honorine   Agnes  Russell. 

Mimi  Mabel  Lowe. 

Musette    Sadie  Wigley. 

Later  revivals  of  "Trilby"  in  this  country 
brought  into  its  cast  Edith  Crane  and  Mabel  Am- 
ber in  the  title  role,  J.  M.  Colville  and  Reuben  Fax 
as  Svengali,  Herbert  Carr  and  Richard  Ganthony 
as  Taffy,  Harry  A.  Smith  and  Charles  Canfield  as 
the  Laird,  Frederick  Conger  and  George  P.  Web- 
ster as  Little  Billee,  and  Alice  Butler  and  Sara 
Stevens  as  Mrs.  Bagot.  On  December  14,  1896, 
at  the  Knickerbocker  Theatre  in  New  York,  ]\Ir. 
Tree  appeared  as  Svengali  for  the  first  time  in  the 
United  States,  with  Kate  Rorke  as  Trilby,  F.  Mac- 
Vicars  as  Taffy,  Lionel  Brough  as  the  Laird,  Al- 
fred Wigley  as  Little  Billee,  and  Elsie  Chester  as 
Mrs.  Bagot. 

A  German  version  of  "Trilby"  was  given  at  the 
Thalia  Theater  in  Berlin  on  January  25,  1897. 

The  Two  Orphans,  a  melodrama  in  five  acts  by 
Adolphe-Philippe  d'Ennery  and  Eugene  Cormon, 


28o  ^lapie?  of  tfjc  ^irciffnt* 

was  produced  at  the  Theatre  de  la  Porte  St.  Martin 
in  Paris  on  January  29,  1874,  its  title,  "Les  Deux 
Orphelines,"  being  exactly  translated  when  the 
play  was  adapted  into  English.  In  December  of 
the  same  year  an  English  adaptation  by  Hart  Jack- 
son was  first  seen  in  this  country  at  the  Union 
Square  Theatre  in  New  York,  by  Shook  and  Pal- 
mer's stock  company,  the  cast  being  as  follows : 

Chevalier  Maurice  De  Vaudrey  . .  Charles  R.  Thorne. 

Count  De  Linieres Charles  Parselle. 

Picard    Stuart  Robson. 

Jacques  Frochard McKee  Rankin. 

Pierre  Frochard  Frank  F.  Mackay. 

Louise    Kate  Claxton. 

Hcnriette    Kitty  Blanchard. 

Countess  Diane  De  Linieres Fanny  Morant. 

La  Frochard Mrs.  Marie  Wilkins. 

"The  Two  Orphans"  proved  a  stirring  melo- 
drama in  the  best  sense  of  that  term.  It  was  a 
melodrama  of  refinement,  of  deep  pathos,  of  keen 
anguish,  of  bitter  suffering,  of  brave  contention 
between  love  and  duty.  The  continuous  action, 
the  strong  situations,  the  wonderfully  effective 
tableaux  made  up  a  play  which  worked  on  the  feel- 
ings of  the  oldest  playgoer,  for  d'Ennery,  cunning 
playwright  as  he  was,  had  woven  the  possibilities 
of  Parisian  street  life  into  a  picturesque  story 
whose  incidents  appealed  directly  to  the  spectator. 
Indeed,  it  made  such  a  sensation  in  the  theatrical 
world  that  managers  in  different  parts  of  the 
country  immediately  announced  versions  of  d'En- 


KATE  CLAXTON, 

As  Louise,  in  the  Two  Orphans. 


papief  of  tfjc  Prc.0nit.  281 

nery's  work,  and  there  was  some  controversy  over 
it  in  San  Francisco,  which  led  to  a  hurried  produc- 
tion at  the  California  Theatre  there  with  the  fol- 
lowing players : 

Chevalier  Maurice  De   Vau- 

drcy   Barton  Hill. 

Count  De  Linieres Henry  Edwards. 

Picard    Robert  Pateman. 

Jacques  Frochard  W.  A.  Mestayer. 

Pierre  Frochard  T.  W.  Keene. 

Marquis  Dc  Prcslcs Nelson  Decker. 

Doctor  of  the  Hospitals  ....  Walter  M.  Leman. 

Hcnriette    Alice  Dunning  Lingard. 

Louise    Dickie  Lingard. 

Countess  Diane  De  Linieres.  Mrs.  Sophie  Edwin. 

Marianne Carrie  Wyatt. 

La  Frochard Mrs.  Elizabeth  Saunders. 

Lady  Superior "      Judah. 

After  its  first  New  York  success  it  was  given 
at  the  Boston  Theatre  in  Boston  on  December  13, 
1875,  with  a  cast  which  has  never  been  excelled, 
the  principal  parts  being  thus  distributed : 

Chevalier  Maurice  De  Vaudrey  ...  L.  R.  Shewell. 

Count  De  Linieres C.  Leslie  Allen. 

Picard    D.  J.  Maguinnis. 

Jacques  Frochard P.  A.  Anderson. 

Pierre  Frochard  Gustavus  Levick. 

Marquis  De  Presles M.  D.  Bebus. 

LaHeur T.  M.  Hunter. 

Doctor  of  the  Hospitals H.  Rees  Davies. 

Louise    Kate  Claxton. 

Hcnriette Mrs.  Thomas  Barry. 

Countess  Diane  De  Linieres "     Charles  Poole. 

Marianne    Blanche  Hayden. 

La  Frochard   Mrs.  Marie  Wilkins. 

Sister  Genevieve  "      T.  M.  Hunter. 

Julie   Lizzie  Hunt. 


282  5i^lap^  of  rt|c  ^tc0cnt 


It  was  while  this  play  was  being  performed  in 
Brooklyn,  New  York,  that  the  terrible  fire  occurred 
by  which  more  than  two  hundred  lives  were  lost, 
H.  S.  Murdoch,  who  played  Pierre,  and  Claude 
Burroughs,  who  played  Picard,  being  among  the 
victims.  Miss  Claxton  did  not  lose  her  presence 
of  mind,  and  gave  to  the  world  through  the  papers 
interesting  accounts  of  the  great  tragedy,  so  that 
her  name  became  known  throughout  the  country 
in  connection  with  the  calamity.  Later  she  toured 
with  the  play,  starring  in  the  part  of  Louise  the 
blind  girl,  and  so  great  was  her  success  in  the 
character,  and  so  fully  identified  with  it  did  she 
become  in  the  public  mind,  that  when  she  tried  to 
appear  in  other  roles  her  audiences  fell  away,  and 
she  was  obliged  to  present  "The  Two  Orphans" 
season  after  season.  Of  late  the  play  has  fallen 
into  the  hands  of  the  stock  companies  and  the  ama- 
teurs, but  it  still  remains  one  of  the  best  dramas 
that  France  has  sent  us  during  the  last  thirty  years. 

The  Tyranny  of  Tears,  a  comedy  in  four  acts 
by  Haddon  Chambers,  was  produced  at  the  Cri- 
terion Theatre  in  London  on  April  6,  1899,  the  cast 
being  as  follows : 

Mr.  Parbury  Charles  Wyndham. 

Mr.  George  Gunning  Frederick  Kerr. 

Colonel  Annitage  Alfred  Bishop. 

Evans Stanley  Pringle. 

Miss  Hyacinth  Woodward Maude  Millett. 

Mrs.  Parbury  Mary  Moore. 


^\a0  of  tjjc  ^rc.snit*  283 

The  verdict  upon  ^Ir.  Chambers's  play  is  thus 
summed  up  in  a  criticism  which  appeared  in  the 
'Tall  iMall  Gazette":  ''Despite  its  defects— and 
what  human  effort  is  free  from  them  ? — the  comedy 
gives  a  singular  impression  of  reality,  dealing,  as 
it  does,  with  so  ordinary  and  typical  a  subject, 
through  the  medium  of  character  and  talk  which, 
though  never  brilliant — and  where  talk  is  brilliant, 
characterization  is  for  the  most  part  false — is  yet 
trenchant,  amusing,  and,  with  but  few  exceptions, 
rarely  trivial." 

The  American  rights  were  secured  by  Charles 
Frohman  for  John  Drew,  and  on  "September  ii, 
1899,  the  play  was  performed  at  the  Empire  Thea- 
tre, New  York,  for  the  first  time  in  this  country. 
The  cast  was : 

Mr.  Parbury   John  Drew. 

Mr.  George  Gunning Arthur  Byron. 

Colonel  Armitage Harry  Harwood. 

Evans  Frank  Lamb. 

Miss  Hyacinth  Woodward  Ida  Conquest. 

Mrs.  Parbury   Isabel  Irving. 

Under  the  Gaslight,  a  melodrama  by  Augustin 
Daly,  was  produced  at  the  New  York  Theatre  on 
August  12,  1867.  The  New  York  Theatre  was  at 
that  time  under  the  management  of  William  Wor- 
rell, but  Augustin  Daly  controlled  the  stage  and 
personally  supervised  the  production  of  the  melo- 
drama which  was  afterward  to  be  one  of  the  the- 
atrical sensations  of  the  day.     The  main  idea  of 


284  l^lap^  of  tfjc  ^rc^cnt* 

''Under  the  Gaslight"  occurred  to  Mr.  Daly  while 
watching  the  scene  in  "Rosedale"  in  which  Elliot 
Grey  escapes  from  the  clutches  of  Miles  McKenna, 
but  there  is  no  resemblance  between  the  two  ex- 
cept in  the  skilful  use  of  familiar  theatrical  expe- 
dients. Mr.  Daly  merely  employed  exactly  the 
same  dramatic  elements,  with  entirely  different 
pictorial  adjuncts  and  a  much  stronger  theatrical 
effect.  "The  railroad  incident  was  an  after- 
thought," says  Edward  A.  Dithmar,  in  his  "Mem- 
ories of  Daly's  Theatres."  "As  he  used  to  walk 
toward  his  home  in  Horatio  Street  in  the  evenings, 
thinking  about  his  play,  the  rattle  of  the  trains  of 
the  Hudson  River  Road  and  the  whistling  of  the 
engines  somehow  became  involved  in  his  scheme. 
The  idea  of  the  exhibition  of  a  moving  railroad 
train  on  the  stage  was  not  new,  but  the  rescue  of 
a  human  being,  as  it  was  depicted  in  'Under 
the  Gaslight,'  from  a  railroad  track,  just  in 
the  nick  of  time,  was  a  novel  and  a  patentable 
device." 

"Under  the  Gaslight"  created  an  immediate  sen- 
sation. John  K.  Mortimer,  whose  success  as  Bad- 
ger in  "The  Streets  of  New  York"  at  the  Olympic 
Theatre  was  still  fresh  in  the  public  mind,  played 
Snorkey,  the  bluff,  manly  soldier  messenger ;  J.  B. 
Studley  perfectly  represented  the  low  villain  Byke; 
Charles  T.  Parsloe,  Jr.,  was  successful  in  the  con- 
temporary character  sketch  of  Bervmdas,  the  news- 
boy, and  Henry  Rynar  was  the  signalman.     The 


^\ap^  of  t^t  present.  2S5 

leading  female  parts  were  acted  by  Rose  Eytinge, 
Mrs.  Skerrett,  and  Mrs.  Wright. 

The  play  ran  fifty  nights,  and  was  an  important 
stepping-stone  at  the  beginning  of  Augustin  Daly's 
career  as  manager  and  playwright.  It  was  revived 
on  December  4,  with  the  Worrell  sisters  in  the 
three  principal  female  parts,  and  with  George 
Clarke  as  the  successor  of  "Dolly"  Davenport  as 
Ray  Tr afford,  the  sentimental  young  man  of  the 
drama.  It  was  revived  again  on  November  4,  1868, 
with  Mr.  and  Mrs.  F'-ederick  B.  Conway  as  Byke 
and  Laura,  and  has  since  been  played  in  almost 
every  city  and  town  throughout  the  United  States. 


Under  the  Red  Robe,  a  romantic  play  in  four 
acts  adapted  by  Edward  Rose  from  the  novel  of 
the  same  name  by  Stanley  Weyman,  was  produced 
at  the  Haymarket  Theatre  in  London  on  October 
17,  1896.     The  cast  was  as  follows  : 

Gil  de  Berault Herbert  Waring. 

Richelieu    Sydney  Valentine. 

Henri  de  Cocheforet Hamilton  Revelle. 

Marquis  de  Pombal   J.  L.  Mackay. 

De  Fargis Albert  Mayer. 

Captain  Larolle   Cyril  Maude. 

Lieutenant  Manet   Bernard  Gould. 

Sir  Thomas  Brunt Dawson  Milward. 

Clon  E.  Holman  Clark. 

Louis  Clarence  Blakiston. 

Sergeant  Rupert  Lister. 

Malpas    Cecil  Hope. 

Renee  de  Cocheforet Winifred  Emery. 

Madame  de  Cocheforet  Eva  Moore. 


286  ^^lapiEf  of  t!)e  5i)rci6fcnt, 

Madame  Zaton  Fanny  Coleman. 

Susette    Miss  Halkett. 

Waitress  Annie  Saker. 

The  play  was  given  at  the  Haymarket  Theatre 
in  the  presence  of  the  Princess  of  Wales  and  her 
daughters  and  a  vast  company,  and  immediately 
scored  a  great  success.  Mr.  Rose  had  adapted  Mr. 
Weyman's  novel  with  a  good  deal  of  skill,  and  had 
dexterously  retained  the  scenes  which  gave  an  op- 
portunity for  a  display  of  the  work  of  the  stage  car- 
penter and  artist.  Charles  Frohman  secured  the 
new  play  at  once,  and  brought  it  out  at  the  Empire 
Theatre  in  New  York  on  December  28  of  the  same 
year.  William  Faversham  played  Gil  de  Berault, 
John  E.  Dodson  Richelieu,  Jameson  Lee  Finney 
Captain  Larolle,  Robert  Edeson  Lieutenant  Manet, 
W.  H.  Crompton  Clon,  Viola  Allen  Renee  de 
Cocheforct,  and  Ida  Conquest  Madame  de  Coche- 
forct.  The  Richelieu  of  Mr.  Dodson  took  rank  as 
one  of  the  great  impersonations  of  the  Cardinal 
in  recent  years,  and  the  drama  itself  pleased  a 
playgoing  public  which  liked  its  dramatic  fare 
highly  spiced  with  romance,  lively  action,  and  im- 
possible adventure. 

The  next  season  the  Empire  Theatre  company 
repeated  the  success  of  the  New  York  run,  and  the 
play  was  given  throughout  the  country.  Since 
then  it  has  fallen  into  the  hands  of  the  stock-theatre 
managers  and  still  proves  as  popular  as  in  the 
days  of  its  original  production.    Although  it  is  not 


^liipsf  of  t()c  present.  287 

as  strong  a  play  as  "The  Prisoner  of  Zenda,"  it 
has  the  same  elements  that  make  for  popularity  as 
that  drama,  and  is  likely  to  hold  the  stage  when 
many  better  pieces  are  forgotten. 


Under  Two  Flags,  a  drama  in  five  acts  adapted 
by  Paul  M,  Potter  from  Ouida's  novel  of  the  same 
name,  was  produced  in  New  York  at  the  Garden 
Theatre  on  February  5,  1901,  the  cast  being  as  fol- 
lows : 

Bertie  Cecil Francis  Carlyle. 

Earl  of  Rockingham Maclyn  Arbuckle. 

Rake   Edward  S.  Abeles. 

Countess  of  Warminster Rose  Snyder. 

Lady  Vcnetia  Lyonncsse Margaret  Robinson. 

Marquis  of  Chateauroy  Campbell  Gollan. 

Lord  Constantia  Arthur  Bruce. 

Pierre  Baroni Albert  Bruning. 

Renee  Baroni  Grace  Elliston. 

Maitre  Savignol   Frank  Browning. 

General  Lamoriciere Matt  Snyder. 

Paul  Lamoriciere Madge  West. 

Captain  De  Chanrcllon  Beresford  Webb. 

En-Ta-Maboull   Frank  Leyden. 

Beau  Bruno Tefft  Johnson. 

Tictac   George  Gaston. 

Abd-El-Kareen,  the  Marabout Albert  Bruning. 

Bou  Allam   William  Sissons. 

Amineh    Mrs.  F.  M.  Bates. 

Yussof    Malcolm  Gunn. 

Yussuf    Mary  Bayly. 

Cigarette    Blanche  Bates. 

It  ran  at  the  Garden  Theatre  until  the  following 
June,  and  was  then  taken  on  a  western  tour  ex- 
tending as  far  as  San  Francisco.    Its  second  season 


2  88  I^Kapisf  of  tljc  5^rc^cnt 


was  interrupted  for  several  months  by  Miss  Bates's 
serious  illness,  Isabel  Irving  playing  Cigarette  for 
a  few  performances,  and  the  tour  was  not  re- 
sumed until  January  20,  1902,  at  the  Hollis  Street 
Theatre  in  Boston.  Two  weeks  later  a  second 
New  York  run  was  begun  at  the  Academy  of 
Music.  There  have  been  numerous  changes  in  the 
cast  since  the  opening  performance.  Stanley  Dark 
and  Eugene  Ormonde  successively  replaced  Mr. 
Carlyle  as  Bertie  Cecil,  Claude  Gillingwater  and 
Burr  Mcintosh  succeeded  Mr.  Arbuckle  as  the 
Earl  of  Rockingham,  and  Rankin  Duvall  followed 
Mr.  Abeles  as  Rake. 

The  popularity  of  this  version  of  "Under  Two 
Flags"  gave  rise  to  numerous  other  adaptations, 
which  were  produced  with  more  or  less  success  by 
various  stock  companies  throughout  the  country. 

■'Way  Down  East,  a  drama  in  four  acts  by  Lottie 
Blair  Parker  and  Joseph  R.  Grismer,  was  produced 
at  Newport,  Rhode  Island,  on  September  3,  1897, 
the  cast  of  characters  being  as  follows : 

Anna  Moore  Phoebe  Davies. 

Squire  Amasa  Bar  tie  tt James  O.  Barrows. 

Louisa  Bartlett Sara  Stevens. 

David  Bartlett  Forrest  Robinson. 

Kate  Brewster  Ethel  Carpenter. 

Professor  Sterling J-  Alden  Bass. 

Hi  Holler Felix  Haney. 

Lennox  Sanderson   Joseph  R.  Grismer. 

Martha  Perkins  Sadie  Stringham. 

Rube  Whipple   Frank  Murtha. 


BLANCHE  BATES, 

As  Ciqarette,  in   Under  Two   FImqs. 


^\ap^  of  tl\c  present*  289 


Seth  Holcomb J.  H.  Bunney. 

Dr.  Wiggins   J.  H.  Davies. 

Zeke Edwin  W.  Hoff. 

Sam   John  F.  Boyle. 

Cynthia  Caro  Gordon. 

A melia    Jeanne  Millard. 

Dorcas    Bertha  Tucman. 

Priscilla    Grace  Alden. 

Hank   Benjamin  Ackerman. 

Ebcn    R.  A.  Milliard. 

The  popularity  of  "'Way  Down  East"  was  im- 
mediate. After  a  tour  of  several  months  through 
New  England  and  Western  towns,  it  began  a  New 
York  engagement  at  the  ]\Ianhattan  Theatre  on 
February  7,  1898,  continuing  there  well  into  the 
summer  months.  Mr.  Barrows  was  succeeded  in 
the  character  of  Squire  Bartlett  by  Odell  Williams, 
who  continued  in  the  role  for  several  seasons.  Len- 
nox Sanderson  was  played  later  by  Frank  Lander, 
Martha  Perkins  by  Ella  Hugh  Wood,  Professor 
Sterling  by  George  Backus,  and  Kate  Brewster  by 
Minnie  Dupree  and  Ethel  Carpenter. 


The  Weaker  Sex,  a  play  in  three  acts  by  Arthur 
W.  Pinero,  was  produced  at  the  Court  Theatre  in 
London  on  ]\Iarch  16,  1889,  with  this  cast: 

Lord  Gillingham A.  M.  Denison. 

Honorable  George  Liptrott E.  Allan  Aynesworth. 

Mr.  Bargus,  M.P Edward  Righton. 

Captain  Jcssctt   A.  B.  Francis. 

Dudley  Silchcster W.  H.  Vernon. 

Ira  Lee   W.  H.  Kendal. 

Hawlcy  Hill M.  New  all. 

Wade  Green    Eric  Lewis. 

19 


290  J^lap^ef  of  tlje  ^te^mt 


spencer    H.  Deane. 

Lady  Gillinghain  Violet  Vanbrugh. 

Lady  Liptrott   Patty  Chapman. 

Lady  Struddock   Miss  E.  Matthews. 

Lady  Vivash   Mrs.  Kendal. 

Sylvia Annie  Hughes. 

Mrs.  Hawley  Hill Trevor  Bishop. 

Mrs.  Boyle-Chewton  Fanny  Coleman. 

Rhoda    Olga  Brandon. 

Miss  Cardelloe   Blanche  Ellice. 

Fetch   Miss  C.  Lucie. 


(('■ 


'The  Weaker  Sex"  was  originally  brought  out 
at  the  Theatre  Royal  in  Manchester,  England,  on 
September  28,  1888,  on  which  occasion  the  dram- 
atist succumbed  to  the  general  desire  for  a  happy 
ending  to  a  play,  and  so  married  off  both  his  hero- 
ines, and  let  the  curtain  fall  on  a  conclusion  that 
would  please  the  majority  of  playgoers.  But  after- 
ward he  came  to  a  realizing  sense  of  what  was  due 
his  art,  and  so  changed  the  ending  of  "The  Weaker 
Sex"  that  when  it  was  produced  in  London  the 
last  act  left  the  three  principal  characters  unhappy 
— a  natural  outcome  that  was  the  only  logical  end 
of  the  story.  The  play  treated  of  a  most  painful 
theme,  but  it  was  used  with  such  power  and  yet 
with  such  exquisite  delicacy  that  the  piece  was 
really  impressive  and  pathetic.  And,  as  one  critic 
acknowledged,  the  best  of  it  all  was  that  in  the 
torturing  but  wholly  natural  conclusion  not  the 
smallest,  driest  sop  was  thrown  to  the  Philistines. 

In  the  Manchester  performance  Mr.  Kendal 
played  Dudley  Silchester,  but  in  London  he  acted 
Ira  Lee  with  a  manliness  and  strength  that  added 


IDlap^  of  tljc  prcj^ent.  291 


greatly  to  the  interest  of  the  play,  and  in  his  final 
scene  reached  a  height  he  had  rarely  attained  be- 
fore. Mrs.  Kendal's  acting  was  also  memorable, 
and  in  the  fall  of  the  same  year  that  saw  its  Lon- 
don production  these  two  players  brought  the  new 
play  to  this  country,  where  it  was  well  received  by 
the  critics,  although  the  general  public  wanted  a 
happy  ending.  However,  even  the  public  had  to 
admit  the  good  points  of  the  play  and  the  acting, 
and  so  the  Kendals  retained  the  piece  in  their  rep- 
ertory for  several  succeeding  seasons  here. 

Wheels  Within  Wheels,  a  play  in  three  acts  by 
R.  C.  Carton,  was  produced  at  the  Royal  Court 
Theatre  in  London  on  May  23,  1899,  the  cast  being 
as  follows : 

Lord  Eric  Chantrell Dion  Boucicault. 

Sir  Philip  Curtoys  Eric  Lewis. 

Egerton  Vartrey   T.  B.  Thalberg. 

The  Hon.  Mrs.  Onslow  Buhner Miss  Compton. 

Miss  Curtoys  Pattie  Bell. 

Lady  Curtoys Lena  Ashwell. 

James  Blagden Arthur  Bourchier. 

Mr.  Carton's  play  ran  at  the  Court  Theatre 
throughout  the  summer  and  fall,  and  in  the  spring 
of  1 90 1  it  was  revived  at  the  same  house.  The 
American  rights  were  secured  by  Daniel  Frohman, 
and  on  December  11,  1899,  it  was  produced  at  the 
Madison  Square  Theatre  in  New  York  with  the 
following  cast : 


292  ?^lapjef  of  tlje  5Pf<^i^f»t. 


Lord  Eric  Chantrcll John  B.  Mason. 

Sir  Philip  Curtoys Grant  Stewart. 

Egerton  Vartrey  Philip  Cunningham. 

The  Hon.  Mrs.  Onslow  Bulmer  . .  Hilda  Spong. 

Miss  Curtoys  Eva  Vincent. 

Lady  Curtoys   Grace  Elliston. 

James  Blagden   Robert  Milliard. 

After  running  for  several  months  at  the  Madison 
Square,  "Wheels  Within  Wheels"  was  taken  on  the 
road,  and  in  the  leading  American  theatres  it 
proved  as  popular  as  it  had  become  in  London  and 
New  York. 


When  Knighthood  was  in  Flower,  a  drama  in 
four  acts  by  Paul  Kester  based  upon  Charles  Ma- 
jor's well-known  romance  of  the  same  name,  was 
produced  at  the  Olympic  Theatre  in  St.  Louis  on 
November  i6,  1900,  the  cast  being  as  follows : 

Henry  VHI,  King  of  England Charles  Harbury. 

Francis  D'Angouleme Wilfrid  North. 

Thomas  Wolsey  C.  F.  Gibney. 

Duke  of  Buckingham  David  Torrence. 

Duke  de  Longueville Edwin  Willett. 

Charles  Brandon Bruce  McRae. 

Sir  Edwin  Caskoden Donald  MacLaren. 

Master  Cavendish  Frederic  Burt. 

Sir  Adam  Judson Wilfrid  North. 

Will  Sommers Frank  Reicher. 

Captain  Bradhurst E.  W.  Morrison. 

Host  Frederic  Leslie. 

A  priest T.  L.  Cartwright. 

An  oMcer  of  the  King's  Guard James  Stuart. 

Servant  at  the  Inn William  Charles. 

Officer  of  ship  Royal  Hind W.  H.  Taylor. 

First  Adventurer Francis  Hayward. 

Second  Adventurer   J.  J.  Elwyn. 


JULIA  MARLOWE, 

As  Mary  Tudor,  in   When  Knighthood  was  in  Flower. 


5f^IapiBf  of  tl)c  Iprcanit  293 


Queen  Katherine  of  England Annie  Clarke. 

Mary  Tudor Julia  Marlowe. 

Lady  Jane  Bolingbroke  Norah  Lamison. 

Mistress  Anne  Bolcyn Claire  Kulp. 

Mistress  Jane  Seymour  Ellen  Rowland. 

Page  Katherine  Wilson. 

On  January  14,  1901,  Mr.  Kester's  play  began 
its  New  York  run  at  the  Criterion  Theatre,  remain- 
ing there  throughout  the  remainder  of  the  season. 
During  1901-1902  it  was  played  in  the  leading 
American  cities,  changes  in  the  cast  involving  the 
appearance  of  George  S.  Christie  as  Sir  Edwin 
Caskoden,  Sydney  Toler  as  the  Duke  of  Bticking- 
ham,  Charlotte  Crane  as  Lady  Jaiie  Bolingbroke, 
Frances  Ring  as  Mistress  Anne  Boleyn,  and  Maud 
Lantry  as  Mistress  Jane  Seymour. 

When  We  were  Twenty-One,  a  play  in  four 
acts  by  Henry  V.  Esmond,  was  produced  at  the 
Knickerbocker  Theatre  in  New  York  on  February 
5,  1900,  with  this  cast: 

Richard  Carezve  N.  C.  Goodwin. 

Sir  Horace  Plumlcy,  Bart Neil  O'Brien. 

Colonel  Miles  Graham Frank  Gilmore. 

Terrance  McGrath Clarence  Handyside. 

Richard  Tcrrence  Miles  Audaine.  Henry  Woodruff. 

Lord  Dungelt   Jameson  Lee  Finney. 

David  Hirsch   Thomas  Oberle. 

The  Honorable  Gerfald  Carruthers  S.  M.  Hall. 

Herbert  Corrie  Charles  Thorp. 

Hughie  Belmont Herbert  Ayling. 

Wallis  Brundall  W.  J.  Thorold. 

Bobbie  Bellcw Frank  Mayne. 

Morny  Allsorts L.  E.  Woodthorpe. 

19* 


294  S^Iap^  of  tJjc  5^rc^ntt» 


Jacob   Rapley  Holmes. 

Kara  Glynesk   Ysobel  Haskins. 

Mrs.  Grant  Gordon Gertrude  Gheen. 

Budgie  Culpepper  Florence  Robinson. 

Eileen  O'Brien  Kathryn  Morse. 

Clarice  Newton   Nina  Gregory. 

Winnie  Thornton Gertrude  Tidball. 

Fleurette  Florence  Wickliffe. 

Mabel    Florence  Hayes. 

Cora  Agnes  Mark. 

Flirt Florence  Haverleigh. 

Barmaid _  Helen  Barney. 

Mrs.  Ericson  Estelle  Mortimer. 

Phyllis  Ericson Maxine  Elliott. 

Mr.  Esmond's  play  proved  in  many  respects  the 
best  fitted  to  Mr.  Goodwin  and  Miss  Elliott  of  the 
numerous  ones  that  had  been  provided  for  them. 
With  the  exception  of  a  cheap  and  unnecessary 
third  act,  which  the  dramatist  might  have  cut  out 
bodily  without  in  the  least  injuring  the  fabric  of 
the  piece,  the  play  was  pure  and  invigorating,  and 
well  deserved  the  success  that  attended  it  for  two 
seasons  while  in  Mr.  Goodwin's  repertory.  The 
viciousness  of  the  third  act  militated  against  the 
drama  in  some  quarters,  and  critics  who  would 
otherwise  have  praised  it  thought  it  necessary  to 
condemn  the  whole  piece  for  this  one  scene.  Young 
girls  were  publicly  warned  against  attending  such 
an  exhibition  of  moral  depravity,  and  a  play  that 
would  otherwise  have  stood  as  the  exponent  of  all 
that  was  good  and  pure  in  the  modern  drama 
raised  a  storm  of  criticism  because  its  author  chose 
to  introduce  this  foreign  element  into  it.  That  it 
succeeded  in  spite  of  this  mistake  was  good  proof 
of  Mr.  Esmond's  talents  as  a  playwright. 


^la'f}^  of  tfjc  prci^ntt  295 

After  j\Ir.  Goodwin  had  finished  with  the  play, 
it  was  given  by  less  prominent  players,  William 
jMorris  being  one  who  starred  as  Richard  Carezve. 
Taken  to  Europe,  it  proved  fairly  successful  in 
London,  and  in  Copenhagen,  a  city  not  noted  as 
partial  to  the  English  drama,  it  was  received  with 
enthusiasm. 

The  Wife,  a  drama  of  modern  life  in  four  acts  by 
David  Belasco  and  Henry  C.  De  IMille,  was  pro- 
duced at  the  Lyceum  Theatre,  New  York,  in  No- 
vember, 1887,  and  ran  there  through  the  remainder 
of  the  season.    The  cast  was  as  follows : 

John  Rutherford  Herbert  Kelcey. 

Matthew  Culver Nelson  Wheatcroft. 

Robert  Grey   Henry  Miller. 

Silas  Truman Charles  Walcot. 

Major  Homer  Q.  Putnam W.  J.  Le  Moyne. 

Jack  Dexter  Charles  S.  Dickson. 

Mr.  Randolph Walter  Bellows. 

Jielen  Truman  Georgia  Cayvan. 

Lucile  Ferrant Grace  Henderson. 

Mrs.  S.  Bellamy  Ives Mrs.  Charles  Walcot. 

Kitty  Ives  Louise  Dillon. 

Mrs.  Amory  Mrs.  Thomas  Whiffen. 

Agnes   Vida  Croly. 

"The  Wife"  was  the  feature  of  the  Lyceum  Com- 
pany's repertory  in  New  York  and  on  the  road  for 
two  seasons.  It  was  received  everywhere  with  de- 
light, and  has  been  revived  frequently.  It  was 
last  seen  at  the  Lyceum  Theatre  in  the  season  of 
1 895-1 896,  but  it  has  been  played  since  then  by 
local  stock  companies  in  many  American  cities. 
Nelson  Wheatcroft  has  played  John  Rutherford, 


296  ^lap^  of  ti)c  ^rc^cnt. 

and  in  later  performances  by  the  Lyceum  Com- 
pany Stephen  Grattan  appeared  as  Matthew  Cul- 
ver, Walter  Hale  as  Robert  Grey,  Fritz  Williams 
as  Jack  Dexter,  Isabel  Irving  as  Helen  Truman, 
Elizabeth  Tyree  as  Lucile  Ferrant,  and  Katherine 
Florence  as  Kitty  Ives. 

"The  Wife"  was  produced  at  the  Theatre  Royal, 
Manchester,  England,  on  October  i,  1892,  under 
the  name  of  "The  Senator's  Wife."  Mr.  Kendal 
appeared  as  John  Rutherford,  Mrs.  Kendal  as 
Helen  Truman,  and  J.  E.  Dodson  as  Major  Homer 
Q.  Putnam. 

Yorick's  Love,  a  tragedy  adapted  from  the  Span- 
ish by  William  Dean  Howells,  was  produced  in 
Cleveland  on  October  26,  1878.  Its  first  title  was 
"The  New  Play,"  and  it  was  prepared  by  Mr. 
Howells  especially  for  Lawrence  Barrett,  who 
played  the  leading  role.  It  became  a  conspicuous 
feature  among  his  productions,  and  as  Yorick  he 
took  a  great  stride  forward  in  his  profession.  Crit- 
ics who  had  always  regarded  him  as  one  who 
worked  entirely  in  the  line  of  theatric  tradition  and 
who  considered  that  he  was  to  be  measured  en- 
tirely by  traditional  standards  admitted  that  at  last 
he  had  stepped  from  the  ranks  of  delineators  and 
stood  forth  as  a  creator.  Before  he  had  always 
been  scholarly,  now  he  was  natural,  standing  on 
his  own  merits,  free  from  any  bias  toward  any 
other  player  or  ideal. 


g)liip^  of  tijc  JDrcjsfnit*  297 

On  April  14,  1884,  J\Ir.  Barrett  began  a  London 
engagement  at  the  Lyceum  Theatre  with  "Yorick's 
Love."  Strange  to  say,  in  England  he  won  only 
a  personal  triumph,  the  play  being  rather  harshly 
treated  by  the  critics,  although  the  impersonation 
of  Yorick  was  praised  in  many  of  its  details.  The 
'Times"  said  of  j\Ir.  Barrett  that  "he  will  always 
please,  even  if  he  can  never  deeply  stir  an  audi- 
ence"; the  "Post"  said  that  "he  appeals  more  to 
the  intellect  than  the  emotional  nature" ;  and  the 
somewhat  adverse  opinion  of  the  "News"  that  "his 
calculated  efforts  and  studied  effects  are  too  ob- 
vious" is  balanced  by  the  dictum"  of  the  "Tele- 
graph" that  he  was  "an  actor  full  of  magnetism 
and  glib  of  tongue  in  the  Shakespearian  drama." 
When  the  curtain  fell  on  the  last  act,  Barrett  was 
recalled  several  times,  and  expressed  his  gratitude 
briefly  and  modestly. 

In  1895-1896  "Yorick's  Love"  was  revived  by 
Lewis  Morrison,  being  presented  by  him  for  the 
first  time  on  September  20,  1895,  at  the  Bowdoin 
Square  Theatre,  Boston. 

Zaza,  a  drama  in  five  acts  adapted  by  David  Be- 
lasco  from  Pierre  Berton  and  Charles  Simon's 
play  of  the  same  name,  was  produced  at  the  La- 
fayette Square  Theatre,  Washington,  on  December 
26,  1898.  The  original  version  was  given  in  Paris 
with  Re  jane  in  the  title  role.  On  January  9,  1899, 
"Zaza"  was  played  in  New  York  for  the  first  time 


298  pap^  of  tftc  ^rc^efcnt. 

at  the  Garrick  Theatre,  and  was  continued  there 
throughout  the  remainder  of  the  season.  The 
principal  characters  were  assigned  as  follows : 

Bernard  Dufrene Charles  A.  Stevenson. 

Due  de  Brissac Albert  Bruning. 

Caseart Mark  Smith. 

Jacques  Rigault  Hugo  Toland. 

Chamblay,  Jr Gilmore  Scott. 

Joly   H.  S.  Millward. 

Rosa  Bonne   Marie  Bates. 

Madame  Dufrene   Mabel  Howard. 

Divonne   Lizzie  Du  Roy. 

Lisette    Emma  Chase. 

Toto    Helen  Thill. 

Florianne  Anne  Sutherland. 

Nathalie  Helen  Tracy. 

Zaza    Mrs.  Leslie  Carter. 

Mrs.  Carter's  success  as  Zaza  was  unquestioned, 
and  for  a  second  season  the  play  was  given  in  the 
leading  theatres  of  the  United  States.  In  April, 
1900,  with  Mr.  Belasco  and  her  entire  company, 
she  sailed  for  England,  and  on  the  i6th  of  that 
month  began  a  London  engagement  at  the  Gar- 
rick which  was  destined  to  continue  over  three 
months.  In  October,  1900,  the  third  season  of 
"Zaza"  began  at  the  Criterion  Theatre  in  New 
York,  the  tour  lasting  until  the  following  May  and 
extending  as  far  west  as  the  Pacific  coast.  Dur- 
ing these  three  seasons  there  were  very  few 
changes  in  the  cast  of  characters. 


MRS.  LESLIE  CARTER, 


As  Zaza. 


INDEX 


INDEX 


Abbe,    Charles   S.,   90,    123,    171,  Alcazar  Theatre,   San   Francisco, 

249,  269  III 

Abbey,  Henry  E.,   115  Alden,   Grace,   289 

Abbey's  Theatre,  New  York,  47,  Aldrich,  Louis,  45,  80,   132,   191, 

48,  144.  168,   194,  207  .192,  246 

Abbott,  Marion,  223,  236  Alexander,    George,    5,    71,    138, 
Abbott,  Mrs.,   136  146,    176,    201,    216,    219,    236, 

Abeles,  Edward  S.,  147,  287,  288        241,  274 

Aberle,  Eva,   20  Alexis,   Mme.,   88 

Abingdon,  W.   L.,  252  Alfred  Theatre,   London,  35 

Academy  of  Music,   Baltimore,   3  Alison,  George,  23,  39,  217,  235, 
Academy     of     Music,     Montreal,         275 

129,  144,  265  Alison,   Gertrude  Rivers,  23,   37, 
Academy   of   Music,    New   York,        235 

25,  288  Allan,  Charles,  47,  48,  279 

Achard,  Frederic,  189  Allcroft,    Miss,    144 

Achurch,  Janet,  224  Allen,    C.    Leslie,    27,    105,    137, 
Ackerman,   Benjamin,  289  IS4.    IS6.    1/3,    230,    231,    249, 

Across  the  Atlantic,  130  281 

Adams,  Mrs.  Annie,  181,  232  Allen,  Harry,  62 

Adams,   Edwin,    175  Allen,  Mrs.  J.  H.,  195 

Adams,   Lionel,   24  Allen,    Marsh,   233 

Adams,  Lizzie,   152  Allen,    Viola,    7,    38,    64,    69,    71, 
Adams,   Maude,   3,  27,   156,  223,         137,    i5S.    156,    177.    181,    249, 

232  250,  269,  286 

Addison,  Carlotta,  208,  209,  232,  Allen,  Mr.,  162 

268,  274  All  the  Year  Round,  73 

Addison,     Fanny.       See     Fanny  Alphonsine,  Mme.,   189 

Addison  Pitt  Alsop,  M.  L.,  243,  244 

Addison,  Mr.,   144,  164  Amazons,   The,   3,   4,   5,   170 

Adelman,  Joseph,  120  Ambassador,  The,  5,  6,  7 

Adelphi  Theatre,  London,  15,  60,  Amber,  Mabel,  235,  279 

68,    126,    174,    175,    224,    226,  Amberg's    Theatre,    New    \  ork, 

227,  228,  244,  245  222 

Adler,  Adeline,   38  Ambigu    Comique,    Pans,    17,    59 

Adventure  of  Lady  Ursula,  The,  American    Theatre,    New    York, 

I,  2  90 

Adye,  Oscar,  242  Ames,  Amy,  92,  117,  238 

Ahrendt,  Carl,   140  Amsterdam,   222 

Aickin,  Eleanor,  216  Anderson,  Jennie,   107 

Aiglon,  L',  3  Anderson,    Louis,    277 

Albany,    N.    Y.,    63,   84,    85,    94,  Anderson,  Mary,  137 

197,    198,    228  Anderson,  P.  A.,  281 

Empire   Theatre,   63,   94,    i97  Andrews,  Adora,   10 

Harmanus   Bleecker   Hall,   85  Andrews,   A.   G.,   14,   29,  76,  86, 
Albaugh,  J.  W.,    162  161 

Albee,  Portia   (Little  Portia),  92  Angelo,  C,  121 

Albery,   James,    107,    108  Angel  of  Muhught,   118 

Albion,  Louis,  20  Anglin,  Margaret,  76,  184 

301 


302 


3inticjc» 


Anson,  G.  W.,  46,  71,  227 
Applebee,  J.  K.,  Jr.,  93 
Arbuckle,   Maclyn,   127,  287,   288 
Arch    Street    Theatre,    Philadel- 
phia, 229 
Archer,  Belle,   159 
Archer,  Frank,  200 
Archer,  Herbert,  159 
Archer,  J.,    162 
Archer,  William,  13,  26,  36,  221, 

241,   242 
Arden,    Edwin,    3,    30,    31,    162, 

231,  243,  249 
Aristocracy,  7,  8, 
Arizona,  9,   10,   11,   12 
Arlesienne,   L',  8,   9 
Arlington,  May,  loi 
Arms  and  the  Man,   12,    13,    14, 

86 
Armstrong,  Harrison,    127,  226 
Armstrong,  John,   69,   iii,   159 
Armstrong,  Sidney,   120,  121 
Arnold,  Matthew,  255 
Arrah-na-Pogue,    14,    15,    16,    17, 

248 
Arthur,  Charles,  218 
Arthur,  Julia,   137,   144,  147 
Arthur,  Paul,   7,  233,  275 
Article  47,  17,  18,  19 
Arundel,  W.,  225 
Ashwell,    Lena,     143,     183,    227, 

291 
Astley,   Robert,   131 
At  the  White  Horse  Tavern,  19, 

20,  21,  22 
Athelstone,  Edith,  10 
Atkins,  Louis,  171 
Atkinson,  Miss,  263 
Atwell,  Grace,   155,  250 
Atwell,  Roy,  127 
Aubrey,  JJate,  200 
Augier,  Emile,  58,  130,  132 
Aveling,  Henry,  106 
AventuriHe,  L',  130,  132 
Avenue  Theatre,  London,  12,  178 
Avery,  Charles,  84 
Ayling,  Herbert,  133,  278,  293 
Ayling,  W.  L.,  262 
Aynesworth,     Allen,     166,     240, 

289 


Bachelor's  Romance,  A,   22,   23, 

24 
Bachus,  E.  Y.,  69,  138,  181,  184 
Bachus,  George,   140,   159,  289 
Bailey,  G.  W.,  250 
Baird,  Dorothea,  279 
Baird,  Miss,  276 


Baker,  Lewis,   27,   124,   151,  227, 

240 
Balsillie,  David,  33 
Baltimore,  Md.,  3,  76,  113 

Academy  of  Music,  3 
Balzac,  Honore  de,  6 
Bancroft,  G.,  216 
Bancroft,  S.  B.,  50,  51,  109,  174, 

204,  208,  212 
Bancroft,   Mrs.    (Marie  Wilton), 

51,  88,  109,  no,  174,  204,  20S, 

208,  213 

Bandmann,  Daniel  E.,  61,  94 
Bandmann,      Mrs.      Daniel      E. 

(Millicent  Palmer),   61 
Bangs,  Frank  C,   113,   117 
Banks,  Maude,   137 
Barbara  Frietchie,  24,  25 
Barber,  Grace,  95 
Barbier,  George  W.,  113 
Barker,  Mary  E.,  270 
Barnes,  J.  H.,  226,  231,  259,  260 
Barnett,  Orlando,   12 
Barnett,  Miss,  201 
Barney,  Helen,  294 
Barnum's    Museum,    New    York, 

261 
Barrett,  George,  152,  254,  256 
Barrett,  Lawrence,  83,   116,   175, 

230,  296,  297 
Barrett,    Wilson,    152,    IS3,    227, 

252,  253,  254,  25s,  256 
Barrie,  J.  M.,  156,  157,  220,  221, 

223 
Barriere,  Theodore,   108,   174 
Barrington,   Miss,    147 
Barron,   Charles,   61,  80,  89,  92, 

118,    132,    136,    149,    171,    173, 

209,  212,  231,  257 

Barrow,  Julia  Bennett,  176,  262 
Barrows,    James    O.,     120,     121, 

250,  288,  289 
Barry,  Eleanor,  127 
Barry,  Helen,  149,  150 
Barry,  Shiel,  16,  247 
Barry,  Thomas,  136 
Barry,  Mrs.  Thomas,  118,  281 
Barrymore,  Ethel,  57,   152,  232 
Barrymore,   Georgie   Drew,   246 
Barrymore,  Lionel,   10,  240 
Barrymore,   Maurice,   32,   40,   48, 

125,    126.    141,    147.    211,    243, 

249 
Bartfett,  Bertha,  218 
Barton,  James  T.,  71 
Barton,  Miss  M.,  151 
Bascomb,  H.  L.,  172,  262 
Bass,  J.   Alden,   288 
Batchelder,  Josie,  210 


St^cx* 


303 


Bateman,  H.  L.,  35,  144 
Bateman,  Isabel,  144,   163,  276 
Bateman,  Jessie,    179 
Bateman,  Virginia  Frances,  161 
Bates,    Blanche,    122,    165,    166, 

2S7,  288 
Bates,  Mrs.  F.  M.,  287 
Bates,  Marie,   165,   196,  298 
Batten,  Frank,  225 
Bauble  Shop,  The,  25,  26 
Bayly,   Mary,  287 
Bean,  Morel,  278 
Beardsley,  Aubrey,  46 
Beattie,  "Aubrey,   140 
Beau  Brummel,  zy,  28 
Beaucaire,  28,  29 
Beauchamp,  J.,  4,  152 
Beaumont,  A.,  134 
Beaumont,  Muriel,  240 
Bebus,  M.  D.,  28 1 
Because  She  Loved  Him  So,  30, 

31.  32 
Beckett,  Harry,  53,  55,   103,  209 
Becky  Sharp,  32,  33,  34 
Bedford,  Henry,   16 
Bedford,  Paul,  174 
Beekman,  W.,  91,  117,  172,  213, 

259 
Beere,    Mrs.    Bernard,    109,    no, 

259,  264 
Belasco,  David,  9,  62,  63,  95,  96, 

120,    125,    159,    165,    166,    295, 

297,  298^ 
Belasco,  Walter,  96,  in 
Belcher,  B.   B.,   133 
Belgarde,  Adele,   106 
Bell,  Charles  J.,  249 
Bell,  Edward  M.,  147,  269 
Bell,  Hamilton,   170 
Bell,  Harry,  271 
Bell,  Pattie,  216,  291 
Bellamy,  George,  233 
Bellew,  Kyrle,   139,  257 
Bellows,   Walter  C.,   62,  268,   295 
Bells,   The,  34,   35 
Belmore,   George,   144 
Belmore,  Mr.,  143 
Belot,  Adolphe,   17,   18 
Belton,  Mr.,  262 
Benefit   of   the   Doubt,    The,    36, 

37,  38,  216 
Ben  Hur,  38,  39 
Bennett,  Gage,  152 
Bennett,  Johnstone,   5,  2y,   188 
Bennett,  Josephine,   278 
Benrimo,    J.    H.,    69,    in,    112, 
^  137.   158 
Benson,  Ruth,  55 
Bergen,    Thurlow,    192 


Bergere,   Valerie,   167 
Bergman,  Henry,   126,  245 
Beringer,  Esme,  36 
Beringer,  Mrs.   Oscar,  40,  41 
Berkeley,  Ruth,  20 
Berlin,   27,  72,   no,   167,  279 

Lessing  Theatre,  27,   119,   167 

Royal   Schauspiel  Haus,  72 

Thalia  Theatre,  279 
Bernard,  Bayle,  229 
Bernard,   Charles  de,  260 
Bernard,   Frank,   71 
Bernard,  Vivian,   140 
Bernhardt,     Sarah,    3,    76,     118, 

139,  168,  272,  273 
Beroldo,  Judith,  252 
Bert,  Mabel,  10,  38 
Berthelet,  Arthur,  29 
Berton,   Paul,   150 
Berton,  Pierre,  88,  272,  273,  297 
Bi^  Bonanza,   The.  39,  40 
Bijou    Theatre,    New    York,    65, 

66,    i8s 
Billington,  John,  68 
Billington,   Mrs.,   61,   69 
Bindley,   Gertrude,  236 
Bindloss,  F.  C,  224 
Bingham,  Amelia,  20,  21,  22,  65, 

66 
Birmingham,  Eng.,   16,  82,  222 

Prince  of  Wales's  Theatre,  82 

Princess's  Theatre,   16 
Bishop,     Alfred,     79,     150,     151, 

231,  268,  282 
Bishop,   Charles  B.,    159 
Bishop,  Kate,   131 
Bishop,  Trevor,  290 
Bisson,  Alexandre,   30 
Bit  of  Old  Chelsea,  A,  40 
Bizet,  Georges,  9 
Black,   Katherine,    165 
Black  Sheep,  A,  164 
Blair,  Eugenie,  137 
Blair,  John,  226 
Blaisdell,  J.  W.,   210 
Blake,  George,  249 
Blake,  W.   R.,  202 
Blake,  Mrs.  W.  R.,  7Z,  I9S 
Blakeley,   Alfred,  90 
Blakeley,   W.,    107,  264 
Blakeston,    Clarence,    240,    285 
Blanchard,  Kitty.     See  Mrs.  Mc- 

Kee  Rankin 
Bland,  Humphrey,   124,   125 
Eland,   Lionel,   225 
Blandick,  Clara,   133 
Blatchley,    W.    E.,    182 
Bleak  House,  203 
Blinn,    Ilolbrook,     55,     56 


3°4 


9[iitia% 


Block,    Adele,    39,    186  Bourne,  Margaret,   113 

Block,     Sheridan,     246  Bowdoin    Square    Theatre,    Bos- 

Bloodgood,    Clara,   66,   70  ton,   297 

Blumenthal,  Oscar,  20,  z-j,  222  Bowen,  Minnie,  7 

BIyth,  Mary,  24  Bowers,  Mrs.  D.  P.,   147,   173 

Boardman,    C.    E.,    171  Bowery    Theatre,  New  \ork,  196 

Boker,  George  Henry,   115  Bowne,    Josie,     149 

Bond,    Frederic,    8,    20,    22,    170,  Box  and  Cox,  41,  42,  43,  44 

247  Boyle,  F.,  225 

Boniface,     George    C.,     66,     196,  Boyle,  John  F.,  289 

231,   249,   276  Boyne,   Leonard,   36 

Boniface,    Stella,     114  Bozenta,    Count,    168 

Bonney,   W.   E.,   138,  253  Bradbourne,  J.,   121 

Booth,   Agnes,   9,  48,   54,62,  132,  Bradford,  J.  B.,  118 

142,    230,    259  Bradley,  H.  B.,  243 

Booth,   Edwin,    162,   173,   229  Bradley,  Malcolm,  133 

Booth,  John  Wilkes,  176  Bradley,   Mr.,  261 

Booth,  Junius  Brutus,  229  Brady,    Miss,    252 

Booth,  Junius  Brutus,  Jr.,  141  Braham,  Harry,   243,  246 

Booth,     Mrs.     J.     B.,     Jr.       See  Braham,   Leonora,   30 

Agnes  Booth  Brandon,  Olga,  290 

Booth,  Sydney,  22,  236  Brandon,  Mr.,   134,   138,259,264 

Boston  Brandt,  Edwin,  278 

Boston    Museum,    17,    43,    53,  Branscombe,  W.  L.,  32,  34,  162, 
54.    55.    61,    80,    89,    92,    93,         218,  233,  269,  270 

102,   103,  107,  108,  118,  129,  Brennan,  Joseph,  95,  243,  271 

132,  149.  154.   155.  156,  171.  Brent,  Eva,  103 

173,  188,  201,  209,  210,  212,  Brereton,  Miss,  259 

231,  244,  248,  249,  250,  257,  Breyer,  Mrs.   Mary,  231 

262,  268  Bridgeland,  T.  B.,  226 

Boston    Theatre,    54,    94,    104,  Bridgman,  261 

105,    161,    173,   230,   262,   281  Brighton,   239 

Bowdoin    Square    Theatre,    297  Briscoe,  Miss,  86 

Castle  Square  Theatre,    112  Bristol,  Eng.,  263 

Colonial  Theatre,  29,  39  Brittain,    Meta,   243,    244 

Columbia  Theatre,   147  Broad    Street   Theatre,    Philadel- 

Globe    Theatre,    54,     103,    188,         phia,   i,  24,  243 

212,  239  Broadway    Theatre,    New    York, 

Hollis     Street     Theatre,     266,        9,   38,  43.   52,  80,   113,   136 

288  Brooke,  Mrs.   Charles  VV.,   183 

Howard    Athenaeum,    53,    196,  Brooke,   Cynthia,   151,   194,   242 

^  197,   262  Brooke,  E.  H.,   162 

National  Theatre,  196,  197  Brooke,    Mrs.    E.    H.,    141,    180, 

Park     Theatre,     14,     89,     225,         182 

236,  2yy,  278  Brooke,  Sarah,  131,  180 

Selwyn's  Theatre,  54,   118,   132  Brookfield,   Charles,  47,   109,   141 

Tremont  Theatre,  22,  144,  220  Brooklyn,   N.   Y.,  52,   103,  282 
Bcswell,  Gertrude,  253  Brooklyn    Theatre,    103,    282 

Boucicault,     Aubrey,     117,     185,  Brooks,    Myra,    29 

249  Brookyn,   May,  97,   147 

Boucicault,  Dion,  14,   15,   17,  48,  Brothers,  Edna,  128 

66,    67,    68,    72,    74,    147,    148,  Brough,  Lionel,  46,   78,  278,  279 

149,    160,    161,    162,    194,    195,  Brough,  Margaret,   121 

228,  229,  247,  248,  249,  291  Brough,    Mary,    121 

Boucicault,    Dion,   Jr.,    145,    233,  Brough,    Sidney,    206,    221,   223 

276  Brough,  Mr.,  loi 

Boucicault,     Louise     Thorndike,  Brougham,    John,    13,    102,    176, 

123,  249  203,    211,   214,   215,    262 

Bourchier,  Arthur,  145,  291  Brown,  Miles,  36 


Snticjc. 


305 


Brown,  W'illa,    100 
Browne,  George,   172 
Browne,   T.   S.,  262 
Browne,   Pattie,  4,   275 
Browning,    Frank,   287 
Brownlee,   Frank,   69,   159,   184 
Bruce,   Arthur,   287 
Bruning,  Albert,   165,  287,  298 
Brunton,  Miss  E.  Spencer,  151 
Brutone,   ISIrs.   Julia,   27 
Brj'ant,   Charles,   1 1 1 
Bryant,   George  E.,   i,   181 
Buchanan,   Robert,   139,  256 
Buchanan,  \'irginia,  95,  118,  235 
Buckland,  W.,  37,   157 
Buckley,   Edward  J.,   104,   136 
Buckley,  -May,  57,  111,  112 
Buckley,  Miss,  143 
Buckstone,  J.  B.,  42,  67 
Buckstone,  J.    B.,   Jr.,   27 
Buckstone,  J.   C,    166 
Buckstone,   Lucy,   224 
Buckstone,    Rowland,    i,  98,    133, 

159,   160,  218,  266 
Budd,    Charles,    192 
Buffalo,    N.    Y.,    84,     129,     139, 

251 

Star  Theatre,    129,   139,  251 
Buhler,    Richard,    225 
Buist,   Scott,   169 
Bulgaria,   12,  14 
Bulwer-Lytton,       Edward,       100, 

230 
Bunch  of  Violets,  A,  44,  45,  46, 

47 
Bunney,  J.   H.,   289 
Burbeck,    Frank,   84,   250 
Bvirke,   Charles,   228,   229 
Burke,   lone,    loi,   131,   195 
Burke,   T.   H.,  236 
Burnand,  F.   C,   35,  60 
Burne,  Arthur,   179 
Burnet,  G.,  68 
Burnett,  J.  G.,  201 
Burnett,  J.   H.,   18,   54,   91,   172, 

191 
Burnett,  Mrs.,   154,  155 
Burnley,    Mr.,    169 
Burns,   Ella,   92 
Burrill,   Mrs.,    176 
Burroughs,    Claude,   282 
Burroughs,    Marie,    48,    97,    141, 

183,  220,  222 
Burrows,  James,  92,  93,  171,  209 
Burt,    Fanny   I.,    133 
Burt,  Frederic,   292 
Burton,  Blanche,  151,  159 
Burton,  Miss  C,  254 
Burton,  William  E.,  261 

20 


Burton's     Theatre,     New     York, 

261,  262 
Busby,  Amy,   13,  243,  244 
Busby,  Georgia,    125 
Busley,  Jessie,   70 
Butler,  Alice,  279 
Butler,  Belle,  92 
Butler,  Charles  W.,  71,  234,  277 
Butler,   Nellie,   20 
Butterfield,  W.  E.,  270 
Byron,  Arthur,   10,  27,   151,  227, 

232,  2S3 
Byron,  Henry  J.,  207,  208 
Byron,  I.,  36,  206 

Cabotins,  Les,  6 

Cahill,  W.  B.,  loi 

Caigniez,   Mons.,   163 

Caine,  Hall,   63 

Caldwell,    Marianne,    4 

Caldwell,   Miss,   222 

Calhoun,    Eleanor,    193 

Calice,  Myron,  64,  226 

California  Theatre,  San  Fran- 
cisco, 281 

Calmettes,  M.,  3 

Calvert,  Mrs.  Charles,  12,  233 

Cambridge,   Eng.,    165 

Cameron,  Beatrice,  13,  86,  94, 
187 

Cameron,  Rhoda,  7,  49,  113 

Camp,  Robert  L.,  226 

Campbell,   Bartley,   191 

Campbell,    Nellie,    242,    260 

Campbell,  Norman,   156 

Campbell,  Mrs.  Patrick,  168,  169, 
176,  177,  i8o,  193,  194,  241, 
242 

Cane,  Harry,   182,   183,  220,  221 

Cane,   Mrs.   Harry,   221 

Canfield,   Charles,   279 

Cape,  Fred,  169 

Captain  Swift,  47,   48 

Caravoglia,   C.   F.,   193,    194 

Carew,    James,    66 

Carey,  Eleanor,  96 

Cargill,   May,    122 

Carhart,   James   L.,    29 

Carleton,   H.   G.,  96 

Carleton,   Royce,   220,  221,  257 

Carlisle,    Sybil,   240 

Carlton,   Floyd,   234 

Carlyle,  Francis,  31,  159,  231, 
247,    287,    288 

Carne,    Joseph,     109,     139,     180, 

193 
Carnegie    Lyceum,     New    York, 

129 
Carpenter,  Ethel,  288,  289 


3o6 


3|nbcjc» 


Carpenter,  Louis,   126 

Carr,  Gretta,  57 

Carr,  Herbert,  227,   279 

Carr,  J.   Comyns,    142,  258 

Carrington,    Reginald,   241 

Carson,  Murray,  88,  231 

Carter,   Estelle,   128 

Carter,    Evelyn,    217,   235 

Carter,  Mrs.  Leslie,  95,  96,   125, 

126,   166,   298 
Carter,   R.   Peyton,   156,   168,  223 
Carton,    R.    C,     145,     158,    273, 

274,  275,  291 
Cartwright,   Charles,   258,   259 
Cartwright,  T.   L.,  71,  292 
Carvill,  Henry  J.,  133 
Cary,  Mary,  55,  91,   149,  239 
Casa  Paterna.     See  Magda 
Case   of   Rebellious   Susan,    The, 

49.    50 
Caskie,  Margaret  B.,  134 
Castano,  Edward,  277 
Caste,  50,  51,  52,  53,  54,  55,  130 
Castle    Square    Theatre,    Boston, 

112 
Cat  and  the  Cherub,  The,  55,  56 
Cathcart,   Maud,    131,   200 
Cathcart,   R.,    138,   200,   206,   222 
Cathcart,   W.    M.,    128,    129,   207 
Catherine,   56,   57,   58,   59 
Cause  Cclcbre,  Une,  59 
Cautley,  Laurence,  220 
Cavania,  Marjorie,  253 
Cavendish,  Ada,   131 
Caverly,  Anne,   122 
Cayvan,  Georgia,   s,  62,  63,  268, 

295 
Cazauran,  A.  R.,  45,  61 
Cecil,   Arthur,    79,   88,    169 
Celebrated   Case,   A,    59,    60,   61, 

62 
Celeste,   Mme.,    174,    175 
Century   Magazine,    56 
Chambers,  Haddon,  47,  135,  282, 

283 
Chambers,  Kathleen,  29 
Chamblin,  Jean,  32 
Champion,    Stuart,    36 
Chandler,  Henry  S.,  251 
Chanfrau,  Henrietta,   52,   S3.   54 
Chapman,   Edythe,    117 
Chapman,  F.,  91 
Chapman,   John   Kemble,   67 
Chapman,  Patty,  290 
Chapman,  Sam,  67 
Chapman,  Mrs.  W.  A.,  73 
Chapman,  William  B.,  43,  229 
Chapman,   Mrs.,   67 
Charity  Ball,  The,  62,  63 


Charles,  William,  292 

Charles  I,  35,   i44.   i45 

Charleston,  S.  C,  262 

Chase,   Emma,   298 

Chase,  Harry  E.,  90 

Cherry,   Charles,   119 

Chester,    Dorothy,    29 

Chester,  Edith,  241 

Chester,    Elsie,    2yo 

Chestnut     Street    Opera    House, 
Philadelphia,  38.   76 

Chestnut    Street   Theatre,    Phila- 
delphia, 92,   135,  234 

Chevalier,  Albert,  169,  264 

Chicago,   2,   9,    II,   39,    loi,    137. 
192,  225,  245 

Chicago  Opera  House,  245 
Columbia  Theatre,   loi 
Hamlin's  Grand  Opera  House, 

9 

Hooley's   Theatre,    192 

McVicker's   Theatre,    225 
Childers,    Marion,    227 
Chippendale,   W.   H.,   131 
Chippendale,   Mrs.,    161 
Christian,   The,   63,   64,   65 
Christie,  George  S.,  293 
Christmas  Carol,  A,  178 
Chudleigh,  Arthur,   3 
Churchill,  Winston,   227 
Cincinnati,  Ohio,   229,   262 
City  Theatre,  London,  67 
Clair,  George,  239 
Claire,    Adele,    29 
Clare,  Ada,   176 
Clark,  Holman,  46,   279,  285 
Clark,  J.  W.,    16s 
Clark,   Lois  Frances,   84,   85 
Clark,    Mr.,    68 
Clarke,  Annie,  24,  53,  55,  61,  80, 

89,  92,  118,  132,  149,  155,  156, 

171,    173,    201,    210,    212,    231, 

249,  257,   269,  293 
Clarke,  Creston,  35,  83,  136 
Clarke,  C.  W.,  261 
Clarke,  George,  53,  79,  117,  190, 

191,  213,  261,  285 
Clarke,  John,   204 
Clarke,   Wilfred,    122 
Claxton,     Kate,     118,     172,     280, 

281,   282 
Clayton,  John,   79,  88,   169,   186, 

187 
Clement,     Clay,     35 
Clements,    Frank,    161 
Cleveland,  Ohio,  296 
Clews,  Walter,  198 
Clifton,   William   P.,    225 
Clifton,   Mr.,   263 


3[nticj:- 


307 


Climbers,  The,  65,  66 

Clinton,  Mr.,  201 

Clitherow,   Maude,    152,   254 

Cluer,  Susie,  210 

Cluny  Theatre,  Paris,  34 

Coad,  Heniy,  175 

Cochrane,  Richard,  1:3 

Cody,  Martin  F.,   140 

Coggswell,  W.  J.,  80 

Coghlan,    Charles,    45,    53,    109, 

174,  269 
Coghlan,  Gertrude,  33 
Coghlan,  Rose,  89,  114,  115,  249 
Cohasset,  Mass.,  84 
Coleman,   Fanny,    119,    145,   146, 

147,  240,   286,  290 
Coleman,   John,    163,    164 
Coleman,    Thomas   L.,    155,    249, 

269 
Coleridge,   Miss,  200 
Colfax,    F-rank,    24 
Colleen  Bawn,    The,    15,   66,    67, 

68,  69 
Ccllegians,   The,   66,   67 
Collett,   Mr.,   34,    162 
Collier,  Constance,   71 
Collier,   Edmund,  38,   103 
Collier,  James  \V.,   107 
Collier,    Lizzie   Hudson,   245 
Collins,  Charles  M.,  140 
Collins,  John  J.,    i,   218 
Collins,  J.  Palmer,  29 
Collins,    Wilkie,    18,   64,    65,    172, 

173 
Colonial  Theatre,  Boston,  29,  39 
Columbia   Theatre,    Boston,    147 
Columbia  Theatre,  Chicago,  loi 
Colville,  J.  M.,  279 
Coman,  Morgan,  227 
Comedy     Theatre,     London,     36, 

158,  221,  244,  270 
Compton,  Henry,  208,  209 
Compton,    Miss,    145,    146,    158, 

161,    291 
Compton,  Mr.,  131 
Comstock,   Frances,   70 
Comstock,    Kannette,     193,    250, 

251 
Conger,  Frederick,  279 
Conniers,    Norman,    133 
Conover,   S.,  233 
Conover,  W.,  43 
Conquerors,   The,  69,  70,   71 
Conquest,    Ida,    30,    31,    37.    I77> 

181,  227,   241,   271,  283,  286 
Constantine,  W.  J.,  30 
Convere,  Sara,   171 
Converse,    Sarah,   223 
Conway,  F.  B.,  136,  176,  285 


Conway,   Mrs.    F.    B.,    176,   285 

Conway,  Hart,  92 

Conway,   Lillian,   54,    104 

Cook,  Augustus,  9,  32,  78 

Cook,  Dutton,   150 

Cooke,  A.,   152 

Cooke,  George,  23 

Cooke,  John  F'rederick,  159 

Cooke,   Madge   Carr,   66 

Cooke,  Stanley,  79 

Cooke,  !Miss,  67 

Cooper,    Clifford,    254 

Cooper,   Frank,    143 

Cooper,  George,   185 

Cooper,  H.,  260 

Cooper,   Leonard,   96 

Coote,  Charles  W.,  152,  153,  254 

Copenhagen,  295 

Coquelin,  Constant,  3,  35,  75,  76 

Coquelin,  Jean,  75 

Cormon,   Eugene,  60,  279 

Corr,  James  P.,  20 

Corrigan,  Emmett,  38,  39 

Cortellyou,    Alida,    253 

Cosham,   36  ■ 

Cotton,   Robert,  27 

Cottrelly,  Mathilde,  278 

Couldock,    C.    W.,    73,    162,   201, 

204 
Coulter,  Frazer,  89,   93 
Countess   Valeska,   The,  71 
Country  Lasses,   The,   135 
Courier  of  Lyons,   The,   164 
Courier  of  Naples,  The,  163 
Courrier  de  Lyon,  Le,   162,   163 
Court  Theatre,  London,  3,  4,  41, 

78,    169,    200,    233,    239,    275, 

289,  291 
Courtenay,  Frederick,  133 
Courteney,    William,    7,    76,    86, 

146,  277 
Courtleigh,    William,     217,    219, 

275,  276 
Coutts,  Compton,  4 
Covent  Garden  Theatre,  London, 

199 
Coverly,  Anne,   171 
Cowell,  Florence,    139 
Cowell,     Sydney,     29,     211,     259, 

260 
Cowle,  Miss,   134 
Cowper,  John  C.,   54 
Coyne,  J.  E.,  90 

Craddock,  Nannie,  206,  220,  221 
Craig,  Ailsa,   144 
Craig,  Charles,  38 
Craig,  C.  B.,  238 
Craig,  C.  G.,  63 
Craig,  E.  G.,  loi 


3o8 


S^itUcr* 


Craig,  John,  41,  231,  270 
Crane,  Charlotte,  293 
Crane,   Edith,    171,   279 
Crane,  VVilham  H.,  84,  85,   loi, 

102,  104,  126,  127,  24s,  246 
Craven,  Walter,  9 
Crawford,   Edna,   266 
Crawford,    Francis   Marion,    137 
Creighton,  Bertha,   2Z 
Crellin,  H.,  34 
Cricket  on  the  Hearth,   The,  yz, 

74,  75 
Cripps,  Herbert  A.,   103 
Crisis,  The,  95 

Crisp,  Henry,   18,  91,   191,  201 
Crisp,  W.  H.,  55,  149 
Criterion    Theatre,    London,    23, 

49.    107.     14s.     150,     151.    207, 

231,  264,   282 
Criterion     Theatre,     New     York, 

24.  49.  95,.  119,   158,  293,  298 
Crofton,  Cecil,   182 
Croly,  Vida,  293 
Crompton,    W.    H.,    37,    69,    158, 

177,  181,  184,  286 
Crosman,   Henrietta,    137,    185 
Crown,  Rachel,   113,   134 
Croydon  Theatre   Royal,  33 
Cubitt,  Clara,  266 
Cudmore,  Angela,  47 
Cullen,  Rose,  248 
Cummings,  W.  j.,  230 
Cumrnins,  Nellie,   1 1 1 
Cunningham,   Philip,   292 
Cunningham,   Mr.,    261 
Currier,  Frank  T.,  226 
Curtis,  George  H.,  249 
Curtis,  W.  H.,  262 
Cuthbert,  Miss,   174 
Cyrano  de  Bergerac,  73,  76,  yj 

Dacre,  Arthur,   134,   135,   141 

Dade,  Charles,   113 

Daily,  John,  106,  191 

Dalbert,  Mons.,  189 

Dale,   F.,   240 

Dale,  Margaret,  184 

Dallas,   Mervyn,   94 

Dalton,  Charles,  233 

Dalton,  Marie,   247 

Dalton,   R..    216 

Daly,  Arnold,  24,  30,  31,   271 

Daly,  Augustin,  18,  19,  39,  40, 
52,  76,  gi,  117,  118,  122,  123, 
124,  123,  171,  172,  173,  190, 
191,  210,  211,  212,  213,  238, 
246,  247,  283,  284,  285 

Daly,  H.  P.,  17,  68,  239 

Daly,  Marie,  150 


Daly,   Martin,   71 

Daly's    Theatre,    New    York,    7, 

79,  122,  123,  146,  170,  171,  210, 

246,   259 
Damala,  J.,    138 
Darner,  Frank,   122 
Dancing  Girl,  The,  yy,  78 
Dandy  Dick,  4,  78,  79,  80 
Dangerous  Friend,  A,  148 
Daniels,   Mr.,   138 
Danites,  The,  80,  81,  82 
Dan  vers,  Charles,   121 
Danvers,   Mr.,   260 
Dark,   Stanley,    183,   288 
Darley,  Brian,   234 
Darrell,  A.,   224 
Daudet,  Alphonse,  8,  9 
Davenport,  A.   H.,   73,   107,    195, 

285 
Davenport,     Edgar     L.,    80,    89, 

137,  249,  237,  269 
Davenport,  Edward  L.,  115,  136, 

160,   196,   197,  213,  263 
Davenport,  Mrs.   Edward  L.,  33, 

160,   173,  263 
Davenport,    Fanny,    18,    39,    33, 

91,    100,    117,    172,    190,    211, 

212,  213,  238,  273 
Davenport,   May,    171,   237 
Davenport,   N.   T.,  262 
Davey,   Thomas,    106 
David  Garrick,   50,  82,   83 
David  Harum,  83,  84,  83 
Davidge,  William,  18,  39,  52,  33, 

91,  117,  172,  211,  213,  238 
Davidson,  Dore,  20,  94 
Davies,  H.  Rees,  281 
Davies,    J.    H.,    289 
Davies,  Phoebe,  288 
Davis,   Fay,  6,   216,  274 
Dawson,  G.,  26:^ 
Dawson,  Ivo,  216 
Dawson,   Stewart,   109 
Day,  W.  D.,  25 
Day,  William   H.,   166 
Day,  Mr.,  138 
Dayne,  Helen,   171,  249 
Dayton,   Frank,  230 
Dean,  John,   238 
Dean,  Julia,   136 
Dean,   Ralph,  31 
Dean,  Will,  84 
Deane,   Charlotte,    133 
Deane,  H.,  242,  290 
Deane,  Mr.,   169 
Deaves,   Rillie,  238 
De  Barrie,  Ray,  98 
De  Becker,  Harold,   179 
De  Belleville,   Frederic,   270 


Sfnticjr. 


309 


Decker,  Nelson,  281 
Decourcelle,   Pierre,   245 
Delacour,  Mons.,  163,  206 
Delaro,  Dickie,  246 
Delavigne,   Casirnir,    160 
Delmar,  Robert,  225 
Delmore,  Ralph,  251,  252,  271 
De    Mille,    Henry    C,    62,    159, 

295 
Demi-Monde,  he,  45 
Denham,  George  W.,  22 
Denison,  A.  M.,  289 
Denison,   M.,  200,  260 
Denny,   Reginald,   145,  233 
Denny,  W.   H.,   79 
Denny,  Mr.,  264 
Denver,   Colo.,    185 
Derickson,   Marie,   151 
De  Silke,  V.  M.,  2-8 
Desjardins,   Mons.,   3,   75 
Deux  Orphelines,  Les,  60,  280 
De  Vere,  George  F.,  84,  91,  117, 

238,  245 
Devere,   Henry,   38 
De  Verney,  Mr.,  134,  187,  264 
Devils  Disciple,  The.  85,  86,  87, 

eg 

De  Walden,  Thomas  B.,  162 

De  Winton,  Alice,   131 

De  Wolfe,   Elsie,   27,  Z7,  57.   1/7 

Dibdin,   Miss,  219 

Dickens,    Charles,    73,    74,     178, 

274 
Dickinson,  G.  K.,  176 
Dickson,   Charles,   295 
Dickson,   Mrs.   Georgia,  64 
Dietrichstein,   Leo,   20,   22,  278 
Dietz,    Linda,    18,    91,    134,    i35. 

138,  172,     173,    238 
Dieudonne,  Mons.,  88 
Dillon,  Charles,   161 
Dillon,   Louise,   268,  295 
Dillon,  R.  J.,  64 
Dills,  Margaret,  29 
Diplomacy,  88,  89,   134 
District  Attorney,   The,  89,   90 
Dithmar,   Edward  A.,  239,  284 
Divorce,  91,   92,   93 
DivorQons,  33 

Dixey,    Henry   E.,    103,    198,   247 
Dr.  Jekyll  and  Mr.  Hyde,  28,  93, 

94 
Dodd,  Jessie,  236 
Dodge,  Edward,   198 
Dodson,    J.    E.,    27,    30,    31,    37. 

139.  177.    181.    242,    260,    286, 
296 

Dodsworth,   C,  206,  221 
Dolan,  Winifred,  6,  274 

20* 


Don  Casar  de  Bazan,  94 

Don  Cccsar's  Return,  94,  95 

Donnelly,   Edward,  95,   235 

Doone,  Xeville,  152,  254 

Dora,  88 

Dorothy,  135 

Dorr,   Dorothy,   230 

D'Orsay,    Laurence,    234 

Dot,  73 

Douglas,  Ethel,  220 

Douglas,  Kenneth,   231 

Dove  Cote,  The,  30 

Downing,   Robert,   83,    136 

Downing,  William,   227 

Doyle,  A.  Conan,  251,  265 

Draper,  Louise,  122 

Draycott,   Mr.,   264 

Dreher,  \'irginia,   170,  246 

Drew,  I.  N.,  244 

Drew,  John,   26,   27,   39,   40,    79, 

151,    152,    170,    210,    211,   227, 

228,    232,    240,    246,    247,    239, 

283 
Drew,   Louise,   241 
Drew,  Miss,  219 
Drouet,   Robert,   64,    139 
Druce,  Hubert,  253 
Drummond,  Mr.,   134 
Drury    Lane    Theatre,     London, 

121,  160,  247,  248,  263 
D«  Barry,  95,  96 
Dublin,   163 
Duck,   William,   186 
Duke  of  York's  Theatre,  London, 

2,  64,   166 
Dumaine,   ^lons.,   60 
Dumas,     fils,    Alexandre,     6,    45, 

49,   58,    109,    190 
Du  Maurier,  George,  193,  277 
Du  Maurier,  Gerald,  273,  279 
Dunbar,  Jennie,  78 
Dunn,   Bessie,   64 
Dunn,   James   C,    loi 
Dupont,  W.,  84 
Dupree,   Minnie,  66,   126,  289 
Durand,   Charlotte,   168 
Dure,   Michael,    121 
Duse,   Eleanora,   168,  242 
Duval,  Louis,  244 
Duvall,   Rankin,    167,   288 
Dyas,  Ada,  33,  55.  190.  191 
Dyas,   Mr.,   34 
Dyott,  John,   263 

Earle,  Mattie,  10 
East,  James,  242 
Eastlake,   Miss,   132,  234 
Eaton,   Elwyn,   231 
Eaton,   Herbert,   71 


3IO 


SlnUejC. 


Eddinger,  Lawrence,  90 

Eddinger,   Wallie,    120 

Edeson,  Robert,   10,  37,  65,    156, 

158,  177.  185.  286 
Edgar,  E.  F.,  100,  144,  263 
Editha's  Burglar,  155 
Edwardes,  Paula,   122 
Edwards,    Eugenie,    152 
Edwards,  Frank,   114 
Edwards,     Harry,    89,    97,     114, 

191,  281 
Edwards,  John  G.,  234 
Edwards,  Samuel,   10 
Edwin,  Mrs.   Sophie,  281 
Eillson,    Elaine,    5,   243 
Eily    O'Connor,    or    The    Foster 

Brother,  67 
Elaine,  97 

Eldridge,  Charles,  30 
Eldridge,    Lillian,    66,   80 
Eliot,  A.,  151 
Eliscu,    Fernandu,    94 
Ellice,   Blanche,   290 
Elliot,    Mr.,    109 
Elliott,  Agnes,   114 
Elliott,    Gertrude,    146,    192,    233 
Elliott,  Maxine,  192,  220,  294 
Elliott,    Robert,   39,   235 
Elliott,  W.  A.,  253 
Elliott,  Mr.,  4 

Elliston,   Grace,   7,   287,   292 
Ellsler,  Effie,  25 
Elmer,  David,  20 
Elmo,  Monta,  278 
Elton,  E.  W.,  67 
Elwyn,  J.  J.,  292 
Emery,  Pollie,  146,  276 
Emery,  Samuel,   16 
Emery,    Samuel   A.,    61,    260 
Emery,   Winifred,    36,    147,    158, 

201,  285 
Empire  Theatre,  Albany,  63,  94, 

197 
Empire  Theatre,   New  York,   27, 

37,  69,  120,  141,  152,  156,  157, 

158,    178,    179,    181,    183,    184, 

185,   227,    240,    24s,    271,    283, 

286 
Enemy  of  the  People,  An,  46 
Enemy  to  the  King,  An,  97,  98, 

99. 

English,   D.   G.,   225 

Englund,  Hilda,  252 

Ennery,  Adolphe  d',  60,  279 

Erckmann-Chatrian,    34 

Erison,  Thomas,  271 

Erlynne,     Roydon,     i,     98,     218, 

266 
Erskine,  James,  233,  276 


Esmond,  Henry  V.,   5,   182,  216, 

274,  293,  294 
Ethel,  Agnes,  117,  173,  213 
Eugene  Aram,  99,  100,  loi 
Eustace,  Jennie,   138 
Evangeline,    101,    102,    103,    104 
Evans,  Patrick,  279 
Everard,  Mrs.,  247 
Everill,   F.,   109 
Eversfield,  H.,  79,  169 
Evesson,  Isabel,  80,  89,  93,   108, 

257 
Eville,  William,  235,  277 
Exiles,  The,  104,  105,  106 
Eyre,  Gerald,  114 
Eytinge,  Harry,  78 
Eytinge,    Rose,    124,    285 

Faille,  Mons.,  60 

Fairfax,  Lettice,  29 

Falconer,    Edmund,   69 

Falkland,  Arthur,  93 

Falsche  Heilige,  222 

Fanchon,   106,   107 

Far    from    the   Madding   Crowd, 

258 
Farnum,  William,  39 
Farr,  Florence,  12 
Fatal  Card,  The,  135 
Fate  of  Eugene  Aram,  The,   100 
Faversham,    William,    8,    37,    69, 

158,  159,  177,  286 
Fawcett,  George,  90,   156 
Fawcett,    Owen,    i,    18,    39,    91, 

266 
Fax,   Reuben,  48,   251,  278,  279 
Fayre,  Tsiv.,   i6g 
Fealy,  Margaret,  225 
Fealy,  Maude,  225,  252 
Featherbrain,    107,    108 
Fechter,   Charles,   174 
Fedora,   109,    no 
Fenno,  A.  W.,   136 
Ferguson,   Robert  V.,   32 
Ferguson,  W^  J.,  27 
Fernald,    Chester   Bailey,    55,    56 
Fernandez,    Bijou,    30,    66,    226, 

270 
Fernandez,   James,    161,    169 
Fernandez,  Mr.,   77 
Ferrar,    Ada,    119 
Fetter,   Selena,   127 
Feuillet,   Octave,   6,   44,   45,    147, 

148,   189 
Field,  Emma,  246 
Field,  J.   M.,  262 
Field,  Mrs.  J.  M.,  262 
Fielding,  Henry,  256,  257 
Fielding,  Margaret,   30 


"S'liticr. 


;i  I 


Fielding,   May,   246 

Fifth  Avenue  Theatre,  New 
York,  18,  32,  39,  40,  52,  86, 
91,    114,    117,    139,    1671    168, 

169,  172,    173,    197,    211,    212, 
238,  269 

Filles  de  Marbre,  Les,   174 
Fils  Naturel,  Le,  45 
Findlay,   John,    133,   217 
Finney,     Jameson     Lee,     37,     64, 

145,  177,  286,  293 
First  Born.  The,  iii,  112 
Fischer,   Alice,    177,   225 
Fischer,    Robert,    226 
Fisher,   Alfred,   66 
Fisher,  Charles,  39,   68,  79,    115, 

170,  190,   211,   259 

Fisher,    David,    15,    68,    69,    164, 

20S,   209,    247 
Fiske,  Harrison  Grey,  89 
Fiske,   Mrs.,   32,   33. '40,  41.   106, 

108,   118,   168,   169,  270 
Fitch,  Clyde,  24,  27,  28,  65,  192 
Fitzallen,    Adelaide,    185 
Fitzgerald,   Alexander,   So 
Fitzgerald,   Aubrey,   36,   233,   276 
Fitzpatrick,   H.,   109 
Fletcher,   Charles  Leonard,  94 
Flockton,   C.    P.,   I,   96,   97,   208, 

209,  218,  266 
Flood,  John,  6s 
Florence,  Charles,  94 
Florence,    Katherine,    5,   84,    120, 

128,   217,   251,  296 
Florence,  W.  J.,   52,   54 
Florence,  IMrs.  W.  J.,  52,  54 
Floyd,  \V.  R.,  89,  239 
Flynn,  Thomas,   228,   229 
Flynn,  Miss,   202 
Flynn,  Mrs.,   228,   229 
Folies  Dramatiques,   Paris,  271 
Foote,  Lydia,  51.  i74.  212 
Forbes,  George,  227,  234,  241 
Forbes,  Norman,  200 
Forbes,  !Mr.,  261 
Forbes,  Mrs.,  228 
Ford,  Audrey,  46 
Ford,  H.,   179 
Ford,   Marcus,   225 
Ford,  Paul  Leicester,  139 
Ford,  Rachel,  277 
Ford,   William,   38 
Forde,  Athol,  275 
Forde,  Miss,  67 

Ford's  Theatre,  Washington,  204 
Forest  Lovers,  The,   112,   113 
Forget  Me  Not,  113,  114,  115 
Forrest,  Arthur,  22,  76,  86,   146, 

225 


Forster,  Wilfred,  240 

Forsyth,  Helen,  257 

Fortescue.  May,  118,  119 

Foss,  G.  R.,  121 

Foster,  Mrs.  Augusta,  245 

Foster,  IMr.,  276 

Fotheringham,   Mr.,   34 

Fowler,    Edward,    185 

Fox,  G.  L.,   196 

France,   Mrs.,   261 

Francesca    da    Rimini,    115,    116, 

117 
Fran^illon,  49 
Francis,   A.    B.,   289 
Francis,  A'irginia,   163 
Francis,   Mr.,   109 
Francoeur,  Joseph,   223,   271 
Frank,  Alexander,  29 
Frankau,  Joseph,   188 
Franks,   !Nir.,   200,  260 
Frawley,  T.  D.,  245 
Frederick,   George,   38 
Fredericks,  Mr.,  34,   261 
Freisinger,  Lucie,    168 
French,  Pauline,   171 
French,  Stephen,   10 
Frohman,    Charles,   3,    5,   31,   37. 

57.     158,    233,    240,    251,    283, 

286 
Frohman,  Daniel,   4,   7,   37,   146, 

216,    218,    219,    268,    275,    276, 

291 
Frou  Frou,   117,   118 
Fullerton,   George,    iii 
Fulton,  Nell  Stone,   157 
Fyles,  Franklin,  120 

Gaiety  Theatre,  London,  149 

Gail,   Ellen,   181 

Gale,   Minna,    137 

Gallaher,  Donald,  234 

Galland,  Bertha,  112,  113 

Gallatin,  Alberta,  99 

Galyer,   May,  9 

Gannon,   May,   52,   215,   230 

Ganthony,   Richard,   55,   56,    178, 

279 
Garden,  E.  W.,  182,  208 
Garden    Theatre,    New    York,    3. 

22.,   75.   76,   .133.    134.   278,   287 
Gardiner,  Marian,  66,  159 
Gardner,   Mr.,   261 
Garland,   Franklin,    10 
Garrick,  John   D.,   236 
Garrick    Theatre,    London,    166, 

193,    206,    221,    222,    265,    271, 

298 
Garrick  Theatre,  New  York,    14. 


312 


ginticjt* 


57,     84,     IS".     179.     243.     244. 

251,  298 
Garrick     Theatre,      Philadelphia, 

28,  29 
Garrison,  G.  W.,  54 
Gaston,  George,  287 
Gav  Lord  Qiiex,  The,  119 
Geidart,  R.  A.,  29 
Cendre,  Le,  260 
George,  Grace,  38,  39 
George,   Seymour,  217 
Gerard,   Florence,   53 
Germaine,  Revel,  127 
Germon,  Effie,  53,  55,  202 
Gerrard,    Mr.,    109 
Gerson,   Paul,  38 
Gheen,   Gertrude,   152,   294 
Gibbs,  Robert  Paton,  278 
Gibney,   C.    P.,   292 
Gibson,   Charles,   232 
Giddens,    George,    77,    79,    107 
Gilbert,    Charles   R.,    30 
Gilbert,     Mrs.     G.     H.,     18,     39. 

52.     53,     91.     117.     122,     170. 

172,    190,    210,    211,    213,    234, 

238,    246 
Gilbert,  John,   176,   208,  230,  262 
Gilbert,   William,    170,   246 
Gilder,  Jeannette  L.,   226 
Gill,  Basil,  227 
Gillette,    William,    30,    243,    244, 

24s,  251,  252,  270,  271 
Gillig,   Robert,   236 
Gillingwater,     Claude,     96,     165, 

166,   167,  288 
Gillmore,    Frank,     32,     119,     129, 

293 
Gilman,  Ada,  80,  118 
Gilmartin,  J.  J.,  245 
Gilmour,  T.  H.,  3,  24,  231 
Girl  I  Left  Behind  Me,  The,  120, 

121 
Gisiko,  Alexis  L.,  278 
Gladstone,   Mr.,   260 
Glendinning,  John,   223,   278 
Glenney,    Charles,    15,   257 
Glidden,  Helen,   188 
Globe  Theatre,   Boston,    S4,    I03, 

188,   212,   239 
Globe  Theatre,  London,  24,   iig, 

139,  207,  208,   259 
Glover,   Mary,   67 
Glyndon,  Mr.,   162 
Godwin,   William,   100 
Goldthwaite,  Dora,   57,  96 
Gollan,   Campbell,  95,  244,  287 
Gomersall,   Mrs.,   124 
Gondinet,   Edmond,    108 
Goodwin,  J.  Cheever,  loi 


Goodwin,   Nat   C,   83,    103,    104, 
192,   193,  293,  294,  29s 

Gordon,  Caro,  289 

Gordon,  F.  C,   198 

Gordon,  J.   B.,   121 

Gordon,   Margaret,    156 

Gottschalk,   Ferdinand,   4,   37,   65 

Gould,   Bernard,    12,   268,   285 

Gould,  Charles,    129 

Gould,   Howard,  218 

Gould,  Nutcombe,  46,  146,  241 

Gourlay,    Mr.,   261 

Graham,    Annie,    39 

Graham,  G.  M.,  240 

Graham,   J.   G.,   36 

Grahame,   Cissy,   16 

Grahame,   Dorothy,   179 

Grahame,  L.,  178 

Grahame,    Miss,    264 

Grand   Opera   House,    St.    Louis, 
252 

Grand    Opera    House,    Washing- 
ton,  125 

Grandin,   Elmer,  225 

Granger,  Maude,  89,  191 

Granger,   Willis,   249 

Grant,  James,    198 

Granville,   Charlotte,   216,  252 

Granville,    Homer,    84,    85 

Granville,   Miss,   6 

Grattan,    Stephen,    37,    49,    219, 
296 

Graves,  Clo,  112 

Gray,  George  H.,  242 

Gray,  \\'ayne,  94 

Great  Ruby,  The,  121,  122,  123 

Greenleaf,   Mose,  235 

Greenwald,   Marie,  97 

Gregory,  Anne,   206 

Gregory,  A.  W.,   159 

Gregory,  Nina,  294 

Grein,    J.    T.,    222 

Greppo,  George,   122 

Gresham,  Herbert,   122,   171 

Grey,  Alice,   191 

Grey,   Katherine,    14,   235 

Griffin,  Britta  Marti,  20 

Griffin,  Gerald,  66,  67 

Griffith  Gaunt,   123,   124,   125 

Griffith,  W.  N.,   14,  86,   171 

Griffiths,  G.  H.,   18,  92,   118 

Grille,  Die,    106 

Grip  of  Steel,  A,  16 

Grismer,  Joseph  R.,  288 

Grossmith,  G.,    178 

Grossmith,  Weedon,  4 

Groves,    Charles,    53,     129,    206, 
207 

Groves,  Mrs.   Charles,   193,    194 


ginticr* 


O^J 


Grundy,     Sydney,    44,    45,    206, 

224 
Guillemard,  !Mary  F.,  76 
Guitrj',   Mons.,   3 
Giinn,  Malcolm,  287 
Gurney,  G.,   216 
Gustafson,  Zadel  Barnes,   114 
GwjTiette,    Harry,    188 
Gwynne,   Julia,    109 
Gymnase-Dramatique,  Paris,   13S, 

189 

Hackett,   Tames  H.,  229 
Hackett,   James   K.,   94,   95,    217, 

219,  234,   275 
Hackney,   Mabel,   216,   233 
Hading,   Jane,    118,    138 
Hague,    Clarence,    143 
Hague,  J.  W.,   191 
Haines,  Alice  B.,  250,  251 
Haines,  Mary,  9 
Haines,    Robert   T.,    137 
Hale,   Charles,  52 
Hale,  Helen,  96 
Hale,    Walter,    10,    37,    49,    198, 

219,   296 
Halevy,    Ludovic,    117 
Halkett,  Miss,  286 
Hall,  Frank,   34 
Hall,  Gertrude,  yy 
Hall,  Josephine,  8 
Hall,  Laura,  122 
Hall,  Lida,  137 
Hall,  S.   M.,   192,  293 
Hall,  Thomas  A.,  94,  95 
Hallam,  O.   E.,  198 
Hallard,  C.  M.,  46,  48,  279 
Halm,    Frederick,    135 
Halsey,  Mary,   193 
Halton,  Charles,  20 
Hamburg,   222 
Hamilton,   Hale,   95 
Hamilton,  Henry,   121 
Hamilton,    S.,    216 
Hamilton,   Theodore,   94 
Hamilton,   Miss,   68 
Hamley,  Edward  Bruce,  230,  231 
Hammond,   Dorothy,   216 
Hampton,  Mary,  99,  243 
Hanbury,   Hilda,   179 
Hanbury,  Lily,  4,  36,  46,  48,  147, 

220 
Hanchett,   David,    196 
Hanchett,  Mrs.,  196 
Hancock,  Nellie,   185 
Handyside,   Clarence,   192,  293 
Haney,  Felix,  288 
Hanson,   Fred   B.,    133 
Harbury,   Charles,  292 


Harcourt,  Charles,  35,  61 
Harcourt,    George,    240 
Harcourt,  William,   243 
Hardenbergh,     Frank,     92,     118, 

190,   196.  211,  231 
Harding,   Emma,    174 
Harding,    Rudge,   206 
Harding,   Miss,   250 
Hardy,    Thomas,    50,    184,    258, 

269,   270 
Hare,   Gilbert,    119,    129.   -07 
Hare,  John,  24,   50,   51,  55,   119, 

128,    129,    131,    132,    174,    186, 

187,    193,    194,    204,    206,    207, 

213,  221,  259,  264 
Harkins,   D.   H.,   18,    27,   91,   93, 

125,    151,    172,    188,    191,    211, 

232,  238 
Harkins,  W.  S.,  106 
Harlem  Opera  House,  New  York, 

223 
Harley,  J.   P.,  42 
Harned,    Virginia,    i,   78,   98,   99, 

266,   267,  278 
Harris,   Miss-  A.,   54 
Harris,    Monica,    198 
Harrison,   Maud,  206 
Hart,  T.  J.,  71 
Hart,  W.   S.,  38,   136 
Harting,    Hugh,    220 
Harvey,  Martin,  143 
Harvey,   May,    129,   207 
Harwar,  Jane,   38 
Harwood,     Harry,     20,     27,     126, 

151,  227,  232,  250,  283 
Harwood,   Robb,  47 
Harwood,   Mr.,    162 
Haskins,    Isobel,    66,   294 
Haslam,  Mrs.  C.  A.,  251 
Haslam,  Maud,  271 
Hastings,  Alfred,   55 
Haswell,   Percy,    171,   247 
Hathorne,   Murray,    180,   241 
Hatton,   Bessie,   221 
Hauptmann,    Gerhart,    266 
Haverleigh,   Florence,    294 
Haviland,  ]\Ir.,   201,   265 
Hawkins,    Etta,    159 
Haworth,    Joseph,     35,     64,     136, 

201,   225,   231 
Hawtrey,   Charles,   158,   178 
Hayden,    Arthur,    120 
Hayden,  Blanche,   281 
Hayes,  Florence,  294 
Haymarket      Theatre,      London, 

43.    46.    47.    n,    83,    109,    129. 

130,    140,    141,    148,    214,    239, 

240,  278,  285,  286 
Haywood,  Francis,  292 


3^4 


3[nticj:» 


Hazeltine,  William,  122,  171 
Hazleton,  George  C.,  185 
Heart    of    Maryland,    The,    125, 

126 
Heaton,  Harold,  251 
Hefron,    Nevada,    146 
Heimath.     See  Magda 
Helps,  Mr.,  162 
Henderson,   Grace,   62,   295 
Henderson,   Lucius,   250 
Henderson,   Miss,    147 
Hendrick,   Benjamin,   271 
Hendrie,  Ernest,  128,   145 
Henley,  Edward  J.,   138 
Henri,   Miss  J.,    144 
Henrietta,   The,   126,    127,    128 
Henry,  Josephine,  68 
Henry,  Mr.,  68 
Henry,   Mrs.,  43 
Herald     Square     Theatre,     New 

York,  II,  13,  30,  125,  165,  166, 

226 
Herbert,    Sidney,    76,    122,    171, 

252 
Herbert,   William,    185,    226,    245 
Herbert,  Miss,   109 
Herbert,  Mile.,   132 
Her  Majesty's  Theatre,   London, 

48 
Herman,  Charles  D.,   117 
Herman,  Henry,  254 
Heme,   Chrystal,   236,   238 
Heme,  James  A.,  236,  2Z7 
Heme,  Julie  A.,  236 
Heron,  Bijou,   190,  210 
Herring,   Fanny,    196 
Herrman,   Henry,   251 
Herschberg,  Herman,  185 
Hewlett,  Maurice,  112 
Heywood,  Fanny,  34 
Hichens,  Robert,  34 
Hickman,  Alfred,  269,  278 
Hickman,  Robert,  57,  234,  271 
Highest  Bidder,   The,   78 
Hill,   Barton,    136,   230,   231,    281 
Hill,  Caroline,   131 
Hilliard,   R.  A.,  289 
Hilliard,   Robert,  292 
Hind,  T.  J.,   106,   136 
Hitchcock,  M.  W.,  83 
Hitchcock,  R.,  83 
Hitchcock,  Walter,   138 
Hobbes,  John  Oliver,  5,  6 
Hobby  Horse,  The,   128,   129 
Hodge,  W.  T.,  236 
Hodson,  Georgina,  214 
Hoey,  Mrs.  John,  230,  262 
Hoff,  Edwin  W.,  289 
Hofif,  Olive,  32,  270 


Hoffman,    Maud,    79,    121,    1S3, 

252,  253 
Holland,  E.   M.,  48,  53,  97,   142, 

147,   206 
Holland,  Miss  F.,  201 
Holland,    George,    43,    53,     193, 

213,  230 
Holland,  Joseph,  20,  21,  57 
Holland,  Kate,     211 
Holland,    Miss   M.,   201 
Holies,   Alfred,   241 
Holliday,  Harry  J.,   114 
Hollingshead,  John,  35 
Hollis    Street    Theatre,    Boston, 

266,  288 
Holmes,   Ripley,   294 
Holt,  Edwin,  10,  127 
Homans,  Olive,   155 
Home,  129,   130,   131,   132,   133 
Honey,  George,   51,   53,   S4 
Honey,    George     (the    younger), 

251 
Hood,  Tom,  50,  100 
Hooley's  Theatre,   Chicago,   192 
Hoops,  Arthur,   123,  235 
Hope,  Anthony,  i,  218,  234,  235, 

236 
Hope,    Cecil,    285 
Hopkins,    Clement,    122 
Hopper,   Edna  Wallace,   120 
Hopper,   Lulu,   243 
Horlock,  Blanche,   77,  206,  269 
Hornick,   Ethel,   7,    184,    185,   277 
Howard,   Alfred   S.,   251 
Howard,  Bronson,  7,  8,  126,  127, 

238,  249,  250 
Howard,  Edwin,  71 
Howard,  George,  123 
Howard,  G.  W.,  69,  158 
Howard,  J.  B.,  247 
Howard,  Lydia,   162 
Howard,  Mabel,  126,  298 
Howard   Athenaeum,    Boston,    53, 

196,    197,   262 
Howe,  Henry,  loi,  200 
Howells,  William  Dean,  296 
Howland,  Jobyna,  235 
Howson,  A.  S.,  7 
Hoyt,  Arthur  T.,   138 
Hudson,    Alfred,    23,   32,   80,   89, 

93.   171.   249 
Hudson,  Charles,  253 
Hudson,  H.,  178 
Hudspeth,  Perdita,  64 
Hughes,  Annie,  33,  79,  143,  182, 

232,  265,  279,  290 
Hughes,  Fanny,  16 
Hughes,  Mrs.,  261 
Humphreys,  Joseph,  27,  177,  232 


Slnbcjc. 


315 


Hunt,  A.,  240 

Hunt,  Lizzie,  281 

Hunter,  Clara,  152 

Hunter,  Miss  F.,  206 

Hunter,  T.  M.,  86,   118,  281 

Hunter,    Mrs.    T.    M.,    105,   239, 

249,  281 
Huntington,  Annette,  134 
Huntley,  Barbara,   128,  253 
Huntley,  Frank,  254 
Huntley,  G.   P.,  242 
Huntley,  Mr.,   163 
Huntley,  Mrs.,  254 
Hutton,   Laurence,   205 
Hyperion   Theatre,    New   Haven, 

30 

If  I  were  King,   133,   134 

Impulse,   134,   135 

Im  Weissen  Roess'l,  20 

Ingersoll,  William,  192 

Ingomar,   135,   136,   137 

In   the  Palace  of  the  King,   137, 

138 
Irish,  Annie,  31,  66,  90,  152,  242, 

270 
Irish,  F.  W.,  34,   100 
Ironmaster,  The,  138,  139 
Irving,   George,   223,  234 
Irving,  Henry,   34,   35,   100,    101, 

113,    142,    143,    144,    14s,    160, 

161,    162,    165,    180,    200,    201, 

265 
Irving,  Henry  B.,  5,  216,  274 
Irving,  Isabel,  5,  37,  49,  63,  152, 

219,  283,  288,  296 
Irving,  Laurence,  266 
Irving,   \\'ashington,   228,   229 
Irving  Place  Theatre,  New  York, 

20,   168 
Irwin,  May,  170 
Ives,  H.,  274 
Ivor,  Frances,  6,  279 

Jack,  John,  269 
Jackson,   Charles,   84,  85 
Jackson,   Hart,   280 
Jackson,  T.  E.,  243 
Jackson,  Wallace,    156,  238 
Jackson,  Miss,   147 
Jackson,  Mrs.,  7 
Jalousie,  30 
James,  Charles,  29 
James,  David,  51 
Tames,  H.  D.,  244 
James,    Louis,    18,    45,    91,    104, 
116,  117,   136 

James,  Millie,  246 
amieson,   George  W.,   124,   195 


Janice   Meredith,    139 

Janish,    137 

Jansen,  Marie,   107,   loS 

Jarrett,  Daniel,   i,  98,  218 

Jean  la  Foste,   is 

Jefferson,    Joseph,     73,     74,     75, 

130,    19s,    201,    202,    203,    228, 

229,  230 
Jeffreys,  Ida,  80 
Jeffries,  Ellis,   193,   194 
Jeffries,  Maud,  227,  252 
Jenkins,   Gardner,   151 
Jennings,   Clara,  52,  213 
Jennings,  De  VVitt,   122 
Jennings,  James  F.,   185 
Jennings,  J.  W.,  39 
Jepson,  Eugene,   156 
Jerome,    Terome  K.,    166 
Jerrold,  Mary,  6 
Jewett,  Henry,   13,   39,   64,    136 
Jim  the  Penman,   140,    141,   142 

Johnson,   Ben,  86 
ohnson,    Charles,    135 
Johnson,  Mary,  266 
ohnson,     Or-rin,     23,     120,     151, 

234 
Johnson,  Samuel,   101 
Johnson,  Dr.  Samuel,  199 
Johnson,  Tifft,  287 
Johnston,  T.   B.,   176 
Johnstone,  Menifee,   10 

Johnstone,  Sybil,   127 
ones,  Henry  Arthur,  25,  26,  49, 
77.     ISO,    176,    177.     179.     180, 
181,    182,    183,    184,   254 
Jones,  J.  D.,  96 
Jones,  James  H.,    104 
Jones,  "Mrs.    Melinda,   239 
Jones,  Mrs.  W.  G.,  196,  227 
Jordan,  George,   176,  261,  263 
Jordan,  George,  Jr.,   117 
Jordan,  Harry,  261 
Joseph,  Mayton,  21 
Josephs,  Fanny,  208 
Josephs,  Harry,   104 
Joyce,  Laura,   103 
Joyce,  Mr.,  262 
Judah,  Mrs.,  43,  281 
Juif  Polonais,  Le,  34 


Kadelburg,  Gustave,  20 
Kahn,  Florence,  95 
Karsner,  Jennie,  246 
Keach,  E.  F.,  262 
Realty,  Mary,  126 
Kean,  Charles,  153,  161,  164 
Keefe,  Joseph,    127 
Keeler,  Caroline,  241 


3i6 


g:nticr» 


Keenan,  Frank  J.,  35,  64 

Kcene,   James  A.,    185 

Keene,  Laura,  68,   176,  201,  202, 

204,  262 
Keene,  Thomas  W.,   162,  281 
Keim,  Miss,  22 
Keith,    Royston,    182 
Kelcey,    Herbert,    4,    37,    49,    62, 

125,  219,  268,  29s 
Kelleher,  Blanche,  7,  277 
Kellerd,    John    E.,    9,    125,    223, 

250 
Kellogg,   Gertrude,   224 
Kelly,    Charles,    259 
Kelly,   Edgar   Stillman,   38,   56 
Kelly,   Walter,   53 
Kemble,  Henry,  47,  158 
Kemmis,  Mrs.  G.,  6,  216 
Kendal,    W.    H.,    88,    131,    134, 

135.    138,    139.    186,    187,    242, 

259,  260,    264,    289,    290,    291, 
296 

Kendal,  Mrs.,  88,  128,  131,  134, 
135.    138,    139.    187,    242,    259, 

260,  264,  290,  291,  296 
Kendrick,  Alfred,  71,   77,   151 
Kenmore,  Margaret,  29 
Kennedy,  H.  A.,  270 
Kennedy,  M.  A.,  29 

Kent,  Charles,  9,   126,   137 

Kent,    S.    iSIiller,   8,   271 

Kenyon,   C,   225 

Kenyon,  Leslie,   150 

Kerr,  Frederick,  4,  tj,  79,  129, 
169,  268,  282 

Kester,  Paul,  292,  293 

Kiehl,   Emilie,   117 

Kimball,  Grace,  99,  218 

Kinard,  Mr.,  66 

King,  Mrs.,  232 

King  Arthur,   142,   143,   144 

Kingdon,  Edith,   170 

Kingdon,  Francis,  39,  86 

Kingsbury,   Howard  Thayer,   76 

Kingsley,   Mr.,  233 

Kirby,  Airs.   H.,  262 

Kirk,    Marion,   57 

Klein,    Charles,    90 

Knickerbocker  Theatre,  New 
York,  3,  63,  71,  78,  129,  145, 
168,  192,  223,  253,  279,  293 

Knight,  A.,   138 

Knight,    F.   H.,   206 

Knight,   H.,   222,   224 

Knight,  Joseph,  88,   i8i,  248 

Knight,  Julius,    143 

Knight,   Mrs.,   io6 

Knott,  Roselle,  225 

Kruger,  Alma,  126 


Kulp,  Claire,  238,  293 
Kyle,  Howard,   168,   193 

Labiche,  Eugene,  206 
Lachaume,  Aime,  267 
Lackaye,  Wilton,  7,  90,  94,   108, 

250,  278 
La  Coste,  Miss,  169 
Lacressoniere,   Mons.,    163 
Lacy,   Mr.,    143 
hady    Huntworth's    Experiment, 

14s,  146 
Lady  Lee's  Widoivhood,  230 
Lady     Windermere's    Fan,     146, 

147 
Lafayette  Square  Theatre,  Wash- 
ington, 156,  297 
Lafont,  Mons.,  148 
Lamb,  Beatrice,  222 
Lamb,    Edward,    52 
Lamb,    Frank    E.,    27,    151,    227, 

232,   240,   241,   283 
Lam  hart,    R.,    150 
Lamison,   Norah,  24,  217,  293 
Lamp,  VV'illiam,  94 
Lancaster,  Albert  Edward,   112 
Lander,   Frank,  27,  289 
Lane,  Eleanor,  270 
Lane,  Grace,  79 
Lane,  Miss,   176 
Lanergan,  J.  W.,  115 
Lang,  Albert,  171 
Langdon,  H.  A.,  71 
Lange  Preusse,  Der,  71 
Lantry,   Maud,  293 
Laray,  Mons.,  60 
Lardner,   Foster,  20 
Larkin,    Sophie,   204,   208 
Lathrop,  Frank,   120 
Lathrop,  George  Parsons,  97 
Lauer,  Sadie,  20 
Laura     Keene's     Theatre,     New 

York,    68,    107,    201,    202,    203, 

262 
Laurene,    Mrs.    Josephine,    187 
Laurent,  Henry,  29 
Lavedan,  Henri,   56,   58,   59 
Lawrence,  Arthur  R.,  i,  98,  133, 

218,  266 
Lawson,    Mr.,    261 
Le  Bert,  Mina,  194 
Le  Claire,  Laura,  114,  115 
Leclercq,  Charles,  210,  246 
Leclercq,   Charlotte,    164 
Leclercq,  Henri,  30 
Leclercq,     Rose,    4,    36,    47,    77, 

216,  247 
Led  Astray,  147,   148,   149,  150 
Lee,  Henry,  38 


3!nbcr. 


317 


Leeson,  Dan,  68 

Lefevre,  Mr.,  86 

Legault,  Marie,  3,  75 

Leigh,  Alice,  24,  243,  244 

Leigh,   Chfford,    127,    198 

Leigh,  Helen,   117 

Leigh,  Miss,  2y 

Leman,  Walter  M.,   54,   281 

Lemmert,  Charles,  198 

Le    Moyne,    Sarah    Cowell,    57, 

Le  Moyne,  William  J.,  18,  37, 
49.  57.  62,  91,  94,  118,  141, 
149,    196,    219,    239,    268,    270, 

^  293 

Lennon,  Nestor,   106 

Lennox,  Cosmo  Gordon,  34 

Leonard,   \V.  J.,    106 

Leslie,   Dora,   159 

Leslie,  Elsie,  64,   155 

Leslie,   Frederic,   292 

Leslie,  George  W.,  246 

Le  Soir,  George,  94,   171,  227 

Lessing  Theater,  Berlin,  27,   119, 

167 
Lester,  Kate,  123 
Lethcourt,    H.   J.,    126 
Lethiere,   Miss,  88,  276 
Levian,  Henry,    iii 
Levick,   Gus,   249,   281 
Levick,    Milnes,   68,   201 
Levick,    Mrs.,    202 
Lewers,    William,    223 
Lewis,  Emily,  213 
Lewis,   Eric,    145,   158,   233,   289, 

291 
Lewis,   Harold,    123 
Lewis,   Henry,    192 
Lewis,  Horace,  9,   112,   115,  225 
Lewis,  James,   18,  39,  40,  53,  80, 

91,    117,    170,    172,    190,    210, 

211,   238,   239,   246,   259 
Lewis,  Jeffreys,   198,  211,  212 
Lewis,    Leopold,    34,   35 
Lewis,   Mabel  Terry,    iig 
Lewis,  Marie,  79 
Lewis,   Ralph,  24 
Lewis,   Miss,   7 
Leyden,   Frank,   287 
Leyton,  Helen,  141 
Liars,  The,   150,    151,   152 
Liberty  Hall,  274 
Lights  o'  London,  The,  152,  153, 

T-'54 

Lima,  Clara,  185 

Lincoln,  Abraham,   204 

Lincoln,   Francesca,   32 

Lindemann,    Eugenia,    127,    128 

Linden,  Laura,  79 


Lindley,  Henrietta,  36,   141 

Lindsley,    Guy,    168 

Lingard,  Alice  Dunning,  281 

Lingard,  Dickie,  281 

Lingard,  George,  261 

Lingard,  Nellie,  270 

Linthicum,   Lotta,   253 

Lionel,  Cecil,  271 

Lipman,  A.   S.,   140,  231 

Lister,   Rupert,  233,   285 

Little  Lord  Fauntleroy,  154,  155, 

156 
Little    Minister,    The,    156,    157, 

158,  224 
Liverpool,   205,  222,  258 

Prince     of     W'ales's     Theatre, 
258 
Lloyd,  David  D.,  245 
Lloyd,  Edwin,  21 
Lloyd,   Florence,   66 
Lloyd,   Prince,   194 
Lody,    Mme.,    189 
Loftus,    Cecilia,    133,    134,    146 
Logan,  Helen,   133 
London 

Adelphi    Theatre,    15,    60,    68, 
126,  164,   174,  175,  224,  226, 
227,  228,   244,  245 
Alfred   Theatre,   35 
Avenue  Theatre,  12,  178 
City  Theatre,  67 
Comedy  Theatre,  36,   158,   221, 

244,   270 
Court    Theatre,    3,    4,    41,    78, 
169,     200,     2i3,     239,     275, 
289,  291 
Co  vent  Garden  Theatre,   199 
Criterion  Theatre,   25,  49,   107, 
145,   150,   151,  207,  231,  264, 
282 
Drury  Lane  Theatre,  121,  160, 

247,  248,  263 
Duke    of    York's    Theatre,    2, 

64,  166 
Gaiety  Theatre,    149,    164 
Garrick  Theatre,   166,  193,  206, 

221,  222,  265,  271,   298 
Globe    Theatre,    24,    119,    139, 

207,  208,  259 
Haymarket  Theatre,  43,  46,  47, 
77,    83,    109,    129,    130,    140, 
141,   148,   158,  214,  239,  240, 
278,   28s,  286 
Her   Majesty's  Theatre,   48 
Lyceum    Theatre,    34,    35,    41, 
42,  75.  93.  99.   113.  142.   144. 
161,   162,   165,   168,   179,   180, 
181,  242,  252,  297 
Lyric  Theatre,  252 


3^8 


Slnbcr* 


Olympic  Theatre,  150,  224, 
260 

Opera  Comique,  94 

Prince  of  Wales's  Theatre,  34i 
50,  88,  113,  H4.  132,  i74i 
208,  212,  271 

Princess  of  Wales's  (Kenning- 
ton)   Theatre,  88 

Princess's  Theatre,  14,  15,  69, 
152,  153,  161,  164,  204,  224, 
254.  255,  263 

Queen's  Theatre,  263 

Sadler's  Wells  Theatre,  120 

St.  James's  Theatre,  5,  71,  128, 
131.  134.  138,  146,  176,  177, 
186,  216,  219,  235,  241,  258, 
259,  264,  273,  274 

Shaftesbury  Theatre,  141,  181, 
182 

Standard  Theatre,  164 

Strand  Theatre,  45 

Terry's  Theatre,  268,  269 

Toole's  Theatre,  79 

Vaudeville  Theatre,  88,  174 

Victoria  Theatre,  164 

Wyndham's  Theatre,  88 
Long,  Charles  E.,  198 
Long,  John  Luther,   165 
Loraine,  Robert,  121 
Lord  and  Lady  Algy,  158,  159 
Lord  Chumley,  78,   159,   160 
Lorimore,  Ethel,  252 
Losee,  Frank,  123,  127,  227 
Lotto,   Frederick,    133 
Louis  XI,  160,   161,   162 
Love  Finds  the  Way,  33 
Lovell,  Maria,  135 
Lovell,   Sylvia,   179 
Lowe,  Mabel,  121,  279 
Lowell,  Helen,  223 
Lowne,  C.   M.,   121,  178 
Lowrie,  Jeannette,  98 
Lowther,  Mr.,  162 
Lubormirsky,  Prince,  104,  105 
Luce,  Alethea,   55 
Lucie,  Miss  C,  290 
Luck,  Helen,   194 
Lucy    Rushton's    Theatre,     New 

York,   124 
Lugg,  W.,  79,   169 
Lyceum    Theatre,    London.      See 

London,  Lyceum  Theatre 
Lyceum     Theatre,     New     York. 

See  Neiv  York,  Lyceum  Thea- 
tre 
Lyceum       Theatre,        Rochester, 

N.  Y.,  83 
Lyle,  Lyston,  178 
Lynch,  George  W.,  235 


Lyndal,  Percy,  252 

Lynden,  Sylvia,  39 

Lyons,    Edmund   D.,   225 

Lyons  Mail,  The,   162,   163,   164, 

165 
Lyons,  R.  C,  162 
Lytell,  W.  H.,  80 


McAllister,  Paul,  122,  227 
McArdle,  Henry,  251 
Macbeth,  Helen,  126,  217 
McCarthy,  Justin  H.,  133 
McCarthy,  Lillah,  253 
McCarthy,   T.   J.,   185 
McCaull,  Angela,   125 
McClannin,    Robert    F.,    61,    92, 

106,   118,   209,  243 
McCord,  Lew,   167 
McCormack,  Frank,  40 
McCormack,  K.,  9 
McCullom,  J.  C,  173 
McCullough,  John,   136 
McDonald,  Harriet,  236 
MacDonna,  Henry,  249 
McDougal,  Mr.,  201 
MacDowell,  Melbourne,  no,  273 
McFarland,  William,   136 
MacGilvray,  Laura,  129 
McGrath,  Thomas,  251 
McGregor,   Helen,    134 
Mcintosh,  Burr,   139,   278,  288 
Mackay,  Frank  F.,  280 
Mackay,  Gayer,  178,  279 
Mackay,  J.  L.,  285 
Mackay,  Robert,  240 
Mackaye,  Jessie,   156 
MacKenzie,   Mary,    167 
Mackin,  John  E.,  94 
Mackintosh,  C.  A.,   loi 
Mackintosh,    W.,    107,    180,    182, 

186 
Mackintosh,  Mr.,  128,  259 
Macklin,  F.  H.,  47,  88,   150 
MacLaren,  Donald,  24,  71,  292 
Maclean,  J.,   138 
MacLean,  R.  D.,  136 
McLeay,    Franklin,    253 
McMannus,   Mrs.,    106 
McMillan,  Lida,   128 
Macnamara,    Mrs.,   42 
McRae,  Bruce,  8,  251,  292 
MacVicars,  F.,  279 
McVicker's      Theatre,      Chicago, 

225 
McWade,  Robert,  53 
Madame  Butterfly,   165,   166,   167 
Maddern,  Emma,  106 
Maddern,  Mary,  io6 


g'nticx*. 


319 


Maddern,      Minnie,      See      Mrs. 

Fiske 
Mile.  Fifi,  70 
Madison    Square    Theatre,    New 

York,  27,  47,  97,  141,  187,  206, 

291,  292 
Maeder,  Clara  Fisher,  54 
MafEtt,  James  S.,   102,   197 
Magda,   167,   168,   169 
Magistrate,  The.  4,  169,  170,  171 
Maguinnis,   D.  J.,   103,   105,  230, 

249,   281 
Maguire,  John,  20 
Maid  of  Honor,  The,  224 
Maison  de  Mari,  La,  134 
Mattre  de  Forges,  Le,  138 
Major,  Charles,  292 
Malone,   John,    186 
Malory,   Sir  Thomas,   142 
Maltman,   Louise,    159 
Man  and  Wife,  18,  172,  173,  174 
Man  of  Iron,  A,  45 
Man  of  Success,  The,  45 
Manchester,  Eng. 

Princess's  Theatre,  161,  186 

Theatre   Royal,   278,   290,   296 
Manhattan    Theatre,    New    York, 

III,  289 
^lann,  Adeline,  70 
Mannering,    Mary,    7,    139,     140, 

217,    219,    275,    277 
^Manners,  Miss,   115 
Manning,  Ambrose,  227,  253 
Manola,   Marion,   53 
Mansfield,    Richard,    13,    14,    27, 

28,  29,  76,  85,  86,  87,  93,  187, 

188 
Mansfield.   Robert,   38 
Mantel!,  Robert  B.,  no,   176 
Mapes,  Victor,  94 
Marble    Heart,    The,     174,     175, 

176 
!Mar,  Helen,  128 
Marburg,    Guide,    27,     147,     177, 

218 
Marbury,  Jane,   226 
Marchand  des  En f ants,  Le,  73 
Margaret  Fleming,  236 
Marius,  C.  D.,  107,  132 
Mark,  Agnes,  294 
Markljy,   R.,   144 
Markwell,   W.    R.,    160,   162 
Marlowe,   Ethel,   64 
Marlowe,    Julia,    16,    24,    71,    72, 

137,  293 
Marlowe,  Owen,  52,  54 
Marlowe,  Mr.,  261 
Marriott,  W.,  225 
Marsh,  Fannie,  92,  118 


^larshall,   Charles,    20 

^larshall,  Frank  A.,  239 

Marshall,  Polly,  73 

]Marshall,   Robert,   233.   239.   240 

Marshall,  Tully,    160 

Marston,  W'estland,  83 

Martin,  James,   loi 

Martin,  Mr.,  259 

Martinot,    Sadie,    118,    249 

^laskell.   Miss,   260 

Mason,  A.   E.  W.,   12 

IMason,  John  B.,   7,   17,  63,   146, 

171,    196,    211,    231,    249,    269, 

277,  292 
Masqueraders,  The,  176,  177,  178 
Massen,  Louis,  97,  123,  141,  220, 

223 
Masterson,  Lillian,   155 
Mather,  Sydney  C,  133 
Matthews,  A.  E.,  145 
Matthews,  Brander,  44 
Matthews,  Miss  E.,  290 
Matthews,   Sant,   268 
^Matthews,  Mr.,   136 
Matthison,  A.,  238 
Maude,  Cyril,  36,   158,  240,  241, 

Maupassant,  Guy  de,  70 

Maurice,   Edmund,   79,    141,  278 

May,  Olive,  10,  227 

May,  Mr.,  46 

Mayer,    Albert,    285 

Mayeur,  Ernest,   194 

Mayhew,    Elizabeth,   20 

Mayne,  Miss  E.,  144 

Mayne,   Frank,    192,   293 

Mayne,  Helen,  34 

Mayo,  Frank,   136 

Mayo,   ^Margaret,   30 

Mea,  Mile.,  3 

Mead,   Thomas,    162 

Meagreson,   Mr.,  236 

Measor,  Adela,  27 

Meek,  Kate,  27,  30,  62,  84,  271 

Meilhac,  Henri,  117 

Melford,    Mrs.,   260 

Mellish,  Fuller,  47,  128,  143,  257, 

265 
Mellon,  Mrs.  Alfred,  69 
Melmer,  Harry,   106 
Melton,  Mr.,  276 
Meltzer,   Charles  Henry,   9,   266, 

267 
Melville,  W.  T.,  225 
Mendum,   Georgic,   57,   152,   227 
Menelly,   Lillian,    121 
Merivale,  Herman,  109,   113,  114 
Merrilees,   Carrie,  64 
Merrilees,  Edith,  64 


320 


gtnbcjc* 


Merrill,   Miss,   109  IMontgomery,  Henry  W.,  8 

Message  from  Mars,  A,  178,  179  Montgomery,  Walter,  162,  263 

Mestayer,  Emily,   197  Mont  joy  e,  44,  45 

Mestayer,  Louis  J.,   101  Montreal,    129,    144,   265 

Mestayer,  W.  A.,  281  Academy   of   Music,    129,    144, 

Mestayer,  Miss,  261  265 

Metropolitan  Theatre,  New  York,  Montrose,  Harry,  38 

176  Moodie,  Louise,  61,   119 

Metropolitan  Theatre,  San  Fran-  Moore,   Eva,   182,  285 

cisco,  175  Moore,  Louisa,  204 

Meyers,  Louisa,  53  Moore,  Maggie,    15 

Michael  and  his  Lost  Angel,  179,  Moore,    Mary,    25,    49,    77,    151, 

180,   181,   184  183,  232,   264,  282 

Middleman,   The.   181,   182,    183  Moore,  Nellie,  82 

Midsummer    Night's    Dream,    A,  Moore,  Mr.,  260 

202  Morant,  Ella,  103 

Millard,  Evelyn,  2,  64,  166,  220,  Morant,  Fanny,  91,  238,  280 

242  Mordatint,    Frank,    90,    120,    I2i, 

Millard,  Jeanne,  289  125,  127,   191 

Miller,  Agnes,   27  Moreau,  Mons.,   163 

Miller,    Henry,     177,     iSi,    210,  Moreland,  Beatrice,  23 

250,  259,  268,  295  Moreland,  Edward,  66 

Miller,  Joaquin,  80  Moreland,   Mr.,   263 

Millett,    Maude,    182,    241,    268,  Moretti,    Eleanor,    71 

282  Morey,  H.  A.,  244 

Mills,    Frank    R.,    126,    217,   219,  Morgan,  Beatrice,  7,  122,  146 

275  Morgan,   Edward,   7,   38,   39,   63, 

Mills,  Miss,  200  64,  90,  125,  126,  217,  219,  226, 

Millward,  Dawson,   119,  121,  285  275,  276 

Millward,    Herbert,    96,    206,    298  Morgan,  Flora,  185 

Millward,    Jessie,    71,     159,     161,  Morgan,   Howard,  4 

184,  244  Morgan,  William,    122 

Milton,   Maud,    143  Morris,    Clara,    18,    19,    91,    118, 

Mintz,  Louis  F.,  185  172,   173,   191,  238,  239 

Misanthrope,   Le,   6  Morris,    Felix,    20,    21,    22,    217, 

Miss  Hobbs,  166  27s 

Mrs.   Dane's  Defense,    183,    184,  Morris,  Nina,  217 

185  Morris,  William,  120,  295 

Mistress  Nell.    185,    186  Morrison,  Edwin,  55,  292 

Mitchell,  Dodson,   24,  71,  227  Morrison,  Lewis,  297 

Mitchell,  Langdon,  32,  33  Morrison,  L.  F.,  113 

Mitchell,   Maggie,   106,   107,   137  Morrison,  Mabel,  234 

Mitchell's  Olympic  Theatre,  New  Morse,   Kathryn,  294 

York,  43  Morse,  Mrs.  L.,  S4 

Modjeska,   Helena,   118,    168  Mortimer,  Ellen,   39,   198 

Moliere,  6  Mortimer,  Estelle,   192,  294 

Mollison,  Ethel  Knight,  29  Mortimer,  John  K.,  124,  284 

Molony,  Kate,  97  Mortimer,  Miss  N.,  39,  91 

Monckton,  Lady,  47,  141  Morton,  John  Maddison,  41,  42, 

Monde  oii  I'on  s'Ennuic,  6  43,  44 

Money  Spinner,  The,  186,  187  Morton,  Martha,  22 

Monk,  Minnie,  86,  226  Mosley,  F.   C,  116 

!Monroe,  Frank,  236  Moulton,  Blanche,   137 

Monroe,  Maud,  66  Mowatt,  Anna  Cora,  136 

Monsieur,   187,   188,   189  Mowbray,   Miss,    176 

Monsieur    Alphonse,     189,     190,  Muller,    Henry,    217 

191  Munte,   Mme.   Lena,   60 

Montague,    H.    J.,    5s,    89,    207,  Murdock,    Harry    S.,     103,    104, 

208,  213  132,  282 


Sinbcjc* 


;2i 


Murname,  Allen,  234 

Murphy,  Con  T.,   106 

Murphy,   Frederick,   71 

Murphy,  ^^■illiam,  21 

Murray,  Ada,  259 

Murray,  Alma,  12 

Murray,   Dominick,    15 

Murray,  Gaston,   34 

Murray,    Mrs.    Gaston,    128,    134, 

138,  187,  200,  222 
Murray,  Leigh,  164,  174,  175 
Murray,    Mrs.    Leigh,    150,    174. 

212 
Murtha,  Frank,  288 
Musset,  Alfred  de,  6,  45 
My  Partner,    191,    192 

Kainby,  R.,  4 

Nathan   Hale,    192,    193 

National    Theatre,    Boston,    ig6, 

197 
National     Theatre,     Washington, 

95.  120 
Naughty  Anthony,   165,   166 
Navarro,  N'irginia,  122 
Neill,  James,  245 
Neill,  R.  R.,  140 
Neilson,   Francis,    244 
Neilson,  Julia,   71,   77,   194.   216, 

274 
Nelson,  Helma,  277 
Nelson,   Lucille,    278 
Nennett,   Richard,  234 
Nesbitt,   Miriam,  20 
Nethersole,   Olga,    118,   193,    i94. 

222,  223,  242 
Neville,  C.,  208 
Neville,  G.  F.,  15 
Neville,   Henry,    16,   48 
Neville,  Kate,  200 
Neville,   jNIiss   L.,   200 
Newall,  M.,   289 
Nezucomes,   The,  44 
New  Haven,   Conn. 

Hyperion    Theatre,    30 
New      Olympic      Theatre,      New 

York,   107 
New  Orleans,   73,   106,   130 

St.   Charles   Theatre,    106 

Varieties  Theatre,   73,   130 
Newport,  R.  I.,  288 
Newton,  Kate,   117,   172 
New  York 

Abbey's   Theatre,    47,    48,    144, 
168,   194,  207 

Academy  of  Aiusic,  25,  288 

Amberg's  Theatre,   222 

American  Theatre,  90 

Larnum's  Museum,   261 

21 


Bijou  Theatre,  65,  66,  185 
Bowery  Theatre,  196 
Broadway   Theatre,   9,    38,   43, 

52,  80,   115,   136 
Burton's  Theatre,  261,  262 
Carnegie  Lyceum,  129 
Criterion  Theatre,  24,  95,   119, 

158,  293,  298 
Daly's  Theatre,  7,  79,  122,  123, 

146,   170,    171,   210,  259 
Empire    Theatre,    27,    37,    69, 

120,  151,  152,  156,  157,  158, 

178,  179,  181,  183,  184,  185, 

227,  240,  245,  271,  283,  286 
Fifth  Avenue  Theatre,   18,  32, 

39,  40,   52,  86,  91,   114,   117, 

139,  167,  168,  169,  172,  173, 

190,   197,  211,  212,  238,  269 
Garden  Theatre,  3,  23,  75,  76, 

133,   134.  278,  287 
Garrick    Theatre,     14,    57.    84, 

157,   179.   243,   244,   251,   298 
Harlem    Opera    House,    223 
Herald  Square  Theatre,  11,  13, 

30,    125,"  165.    166,   226 
Irving   Place   Theatre,   20,    168 
Knickerbocker   Theatre,    3,   63, 

71,    78,    129,    144.    14s.    168, 

192,    193,   223,   253,   279,   293 
Laura     Keene's     Theatre,     68, 

107,    201,    202,    203,    262 
Lucy   Rushton's  Theatre,    124 
Lyceum  Theatre,  2,  4,   37,  49, 

63,    78,    112,    113,    159,    217, 

218,  219,  233,  234,  235,  268, 

275,  276,  295 
Madison    Square    Theatre,    27, 

47,    97,    141,    187,    206,    291, 

292 
Manhattan    Theatre,    iii,    289 
Metropolitan   Theatre,    176 
Mitchell's  Olympic  Theatre,  43 
New  Olympic   Theatre,    107 
New   York   Theatre,    123,    124, 

226,  283 
Niblo's  Garden,  94,   loi,   125 
Olympia  Theatre,   55 
Olympic  Theatre,  43.  107.   124. 

230,  284 
Palmer's  Theatre,  7,  8,  43,  147 
Proctor's  Theatre,  250 
Savoy  Theatre,  185 
Star    Theatre,     35,     loi,     145, 

161,  220,  242,  245,  250 
Theatre  Fran<;ais,   125 
Theatre    Republic,    New   York, 

137,  186 
Union  Square  Theatre,  45,  61, 
126,   148,  149,   191,  280 


322 


3[ntiex% 


Wallack's  Theatre,   20,   52,   55,  Osbourne,  George,   iii,   112,  250 

89,    95,    114,    115,    139.    140.  Osbourne,    George,   Jr.,    69,    159, 

186,  20s,  208,  214,  223,  230,  184 

247,  257,  262  Osterman,   Kathryn,  246 

Winter  Garden,   -jz,   194  Otis,  Elita  Proctor,  37,  219 

Niblo's   Garden,    New    York,   94,  Otley,  James,  113 

loi,  125  Oughterson,  R.  G.,  240 

Nicholls,  Guy,  64  Ouida,  287 

Nicholls,  Harry,   244  Our  American  Cousin,  201,  202, 

Nicholls,   Miss  K.,   200  203,  204 

Nilsson,   Carlotta,   6  Our  Boys,  55,  208 

Noah,  Rachel,   132,  230  0mm,  50,  51,  204,  205,  206 

Nolan,  James,   92,   149,   155,   171,  Ouvrieur  de  Messine,  U ,   163 

210,  249  Overton,  Charles,  97 

Norman,  Gertrude,   137  Owen,    William    F.,    32,    33,    76, 

Norreys,    Rose,   yy,   79,    108,    169,  122,   146,   171 

268,  269  Owens,  John  E.,  yz 
Norris,  William,  137 

North,   Wilfrid,   32,   40,   269,   292  Padgett,  J.   C.,   245 

Norton,  Edgar,  64  Page,  N.  Clifford,   56 

Norton,   Mabel,    137  Pailleron,   Edouard,   6 

Norwood,   Gertrude,    117  Paine,  Mr.,  224 

Notorious    Mrs.    Ebbsmith,    The,  Pair  of  Spectacles,  A,  206,  207 

193,    194,   216  Palmer,   A.   M.,  45,   47,  97,   141, 

Nunez,  May,  212  147.   206,   278 

Nus,  Eugene,  104,  105  Palmer,    Millicent    (Mrs.    D.    E. 

Bandmann),    61 

Oaker,   Jane,    95  Palmer,   Minnie,    191 

Oberle,   Thomas,    120,    192,    293  Palmer's  Theatre,   New  York,    7, 

O'Brien,  Neil,   192,  293  8,  43,  147 

Octoroon,    The,     194,     19s,     196,  Pardee,   May,   6 

197  Paris,    3,    8,    15,    17,    34,    35,    44. 

Odell,   Maude,  5,   219  56,  57,  59,  60,  75,  76,  96,  105, 

Ogilvie,   Stuart,   77  108,    130,    138,    148,    163,    189, 

O'Hara,  John  D.,  140  245,  256,  271,  272,  280,  297 

Ohnet,  Georges,   138  Ambigu   Comique,    17,   59 

Old  Heads  and  Young  Hearts,  94  Cluny  Theatre,  34 

O'Leary,    Miriam,    155,   212,   231,  Folies  Dramatiques,   271 

249,   250,   269  Gymnase  Dramatique,   138,   189 

Oliver,   Pattie,    15  Sarah  Bernhardt  Theatre,  3 

Oliver  Goldsmith,   197,    198,    199,  Theatre  de  la  Gaiete,   15,   163 

200  Theatre  de  la  Porte  St.  Martin, 

Olivia,  200,  201  60,   75,    105,  272,   280 

Olympia  Theatre,  New  York,  55  Theatre  de  la  Renaissance,  245 

Olympic    Theatre,    London,    150,  Theatre  du  Vaudeville,  8,   108, 

224,  260  148 

Olympic  Theatre,  New  York,  43,  Theatre  Frangais,  57 

107,   124,  230,  284  Parisian  Romance,  A,  28 

Olympic  Theatre,   St.   Louis,  292  Park,  William,  133 

O'Neill,  Anne,   187,  246  Park    Theatre,    Boston,     14,    89, 

O'Neill,  James,  62  225,  236,   277,   278 

Ongley,  Byron,  24  Parker,   Lottie   Blair,   288 

Opera  Comique,  London,  94  Parker,  Louis  N.,  3,  77,  169,  231 

Opp,  Julie,  216,  217,  275  Parker,   Miss  M.,    149 

Oram,  Mona  K.,  119,  129  Parkes,  George,  18,  39,  117,  172, 

Ordonheau,   270  191,   210,  238 

Ormonde,   Eugene,   288  Parks,  Alice,  71 

Ormsby,  Emmeline,  152  Parks,  George  R.,  212,  249 

Orton,  Josephine,  231,  239  Parr,  Norman,   i,   266 


3[nticj:. 


323 


Parry,  John,  18S 

Parry,   Sefton,    161 

Parselle,   Charles,   280 

Parsloe,    Charles    T.,     191,     192, 

284 
Parsons,  Charles  B.,  22S,  229 
Partners  for  Life,  207,  208,  209, 

210 
Pascoe,  William,  138 
Passing  Regiment,  The,  210,  211 
Pateman,   Bella,    121,   179 
Pateman,    Robert,    16,    121,    179, 

227,   281 
Paterson,    E.    H.,    233 
Paul  Zegers,  35 
Pauncefort,  Miss  G.,  34,  144 
PajTie,  Miss  L.,  201 
Peach,  G.  R.,  152,  253 
Pearce,  George  C,  37,  69,   159 
Pearce,   Miss,  67 
Pearson,  Harry,  S4.  73.  '95 
Pell,    Horace,    226 
Perry,  Frederick,  38,  96 
Perry,  Gertrude,   128 
Perry,  Irma,  96 
Perry,    Sara,    223 
Peters,    Charles,    201,    203,    204, 

214 
Petite  Fadette,  La,    106 
Petits  Oiseaux,  Les,  206 
Phelps,  Samuel,  153 
Phenomenon  in  a  Smock  Frock, 

A,  209 
Philadelphia,    i,    24,    29,    38,    76, 

92,   135,  229,   234,  243,  262 

Arch  Street  Theatre,  229 

Broad    Street    Theatre,    i,    24, 
243 

Chestnut  Street  Opera  House, 

Chestnut    Street    Theatre,    92, 
135.   234 

Garrick  Theatre,  28,  29 
Philips,  Edna,  266 
Phillips,  Mrs.   E.  J.,  48 
Phillips,  H.,   24 
Phillips,  Helena,   167 
Phillips,   Kate,   187 
Phillips,   Laura,   149 
Phillips,   Moses  S.,  228 
Phipps,   W.   J.,    152 
Pierce,   Alice,    155,  269 
Pierrepont,  Grace,  278 
Pierson,  Mile.  Blanche,  88,  189 
Pigott,  J.   W.,  8,   36 
Pilar-Morin,    Mile.,    167 
Pinero,  Arthur  W.,   3,  4,   5,   36, 

78,    119,    128,    138,    169,    170, 

171,    186,    216,    221,    241,    258, 


260,  268,  269,  275,  276,  277, 
289 

Pique,  211,  212 

Pitt,  Addison,   186 

Pitt,  C.  Dibdin,  236 

Pitt,  Fanny  Addison,  23,  159, 
269 

Pitt,  Henry  M.,  13,  133,  141, 
154,    156,    210,    211,    249,    269 

Planche,  J.   R.,    loi 

Plantation  Thomassin,  La,  270 

Planter,  The,  271 

Play,   172,  212,   213 

Plunkett,    Charles,    32 

Plympton,  Eben,   136,   137,  231 

Pocahontas,   102,   214,   215 

Polk,  J.   B.,  52,  53,   172,  213 

Ponisi,  Mme.,  55,  68,  89,  114, 
115,    136,    1-6 

Poole,  Mrs.   Charles,  173,  28 1 

Pope,  Charles  R.,  106,  234 

Pope,    Ernest,    179 

Pope,  Mr.,   136 

Post,    William,    95 

Potter,  Herbert,  249 

Potter,  Paul  M.,  69,  70,  277, 
287 

Potter,  Mrs.,  118,  139 

Povey,  John,  43 

Powell,  Francis,  133 

Powell,  Soldene,  251 

Power,  Tyrone,  32,  41,   171 

Powers,   Carrie  E.,    1 1 1 

Powers,    Francis,    iii,    112,    227 

Prahar,  Irene,  29 

Pratt,    Harry,   80 

Presbrey,    Eugene   W.,    9 

Prescott,   Marie,    137 

Preston,   Duncan,   235 

Price,    Fanny    Bayard,    196 

Price,  Lizzie,  239 

Price,  Mark  M.,  105 

Price,  Sidney,  95,  235 

Prince  of  Wales's  Theatre,  Bir- 
mingham, 82 

Prince  of  Wales's  Theatre,  Liv- 
erpool,  258 

Prince  of  VVales's  Theatre,  Lon- 
don, 34,  so,  88,  113,  114,  132, 
174,  204,  208,  212,  271 

Princess  and  the  Butterfly,  The, 
216,  217 

Princess  of  Wales's  (Kenning- 
ton)   Theatre,  London,  88 

Princess's  Theatre,  Birmingham, 
16 

Princess's  Theatre,  London,  14, 
15,  69.  152,  153,  161,  J64,  224, 
254.  255,  263 


324 


5Fnticr. 


Princess's    Theatre,    Manchester, 

i6i,  i86 
Pringle,  Stanley,  282 
Prisoner  of  Zenda,  The,  218,  219, 

220,  23s,  287 
Probert,  George  S.,  84 
Proctor's    Theatre,     New    York, 

250 
Professor's  Love  Story,  The,  220, 

221 
ProHigate,  The,  221,  222,  223 
Proof,  or  a  Celebrated  Case,  60 
Providence,  R.  I.,  63,  262 
Purdon,  Richard,  276 
Putnam,  Boyd,  93 


Quality  Street,  223,  224 
Queen's  Favorite,  The,  224,  225 
Queen's  Theatre,  London,  263 
Quinton,  W.  H.,  4,  276 
Quo  Vadis,  225,  226,  227 


Rachel,  Lydia,  179 

Radford,   Becton,   24 

Raleigh,  Cecil,  121 

Raleigh,  Mrs.   Cecil,   121,  216 

Ramsay,  Walden,  13,  48,  97,  147, 

206 
Rand,  Helen,  127 
Rand,  Rosa,  9,  278 
Rand,  Violet,  98 
Randolph,  Frank,  234 
Rankin,  McKee,  80,  81,  118,  280 
Rankin,  Mrs.  McKee,  13,  80,  81, 

280 
Ranous,  W.  V.,  226 
Ratcliife,  Edward  J.,  127 
Ray,  J.  W.,  204 
Raye,  George  C,   133 
Raymond,  Miss  E.,  261,  262 
Raynionde,   191 
Reade,    Charles,    123,    162,    163, 

164,    165 
Redmund,  Charles,  133 
Reed,  Alvan  A.,  106 
Reed,  Samuel,  271 
Reeves,   Fannie,   61 
Regnier,  Mons.,  18 
Rehan,    Ada,    76,    80,    122,    170, 

171,  210,  246,  247,  259 
Reicher,  Frank,  32,  292 
Reid,  Mayne,   197 
Reignolds,    Kate,    176,    196,    231, 

263 
Rejane,  Gabrielle,  118,  297 
Repton,  Leila,  6,  216 
Revel,  Mollie,  238 


Revelle,  Hamilton,  96,  223,  285 
Rev.     Griffith     Davenport,     The, 

236,  237 
Reynolds,  F.,  21,  129 
Reynolds,  Genevieve,  177 
Rhea,   Mile.,   118 
Rial,  Louise,   140 
Ricard,  Amy,   140 
Riccardo,  Corona,  38 
Rice,  Blanche,  96 
Rice,   Edward  E.,    loi,   102 
Ricliard  Carvel,  227,   228 
Richman,    Charles,    76,    122,    171, 

184,  234 
Richmond,  T.   E.,  90 
Righton,   Edward,   2S9 
Rigl,  Emily,  39,  211 
Rignold,  Marie,  121 
Rignold,    Stanley,    32 
Rignold,   William,    15,    150 
Ring,    Frances,    293 
Ring,  James  H.,   43,   53,   sSf   92, 

118 
Ringgold,  B.  T.,  39,  52,  80 
Rip  van  Winkle,  228,  229,  230 
Ritchie,  Adele,  90 
Ritchie,   Franklyn,   237 
Ritsoe,  Eleanor,  20 
Rivals,  The,  229 
Rivers,  Emma,  220 
Rivers,  Gertrude,  23,  37,  235 
Rivers,  Hilda,  6 
Robe,  Annie,  89,  257 
Rober,   Katherine,    107 
Roberts,  H.  R.,  96 
Roberts,   Sir   Randal,    133 
Roberts,  R.  A.,  251 
Roberts,   Theodore,    10,    94,    120, 

121,  235 
Robertshaw,  Jerrold,  77 
Robertson,    Agnes,     15,    68,    73, 
^  195.  247 
Robertson,  Forbes,  143,  144,  169, 

180,  193,  221 
Robertson,   Helen,   96 
Robertson,  Ian,  180,  193 
Robertson,    T.    W.,    50,    54,    82, 

129,    130,    172,   204,    20S,    206, 

207,  212,  259 
Robertson,  T.  \V.,  Jr.,  131,  132 
Robins,    Elizabeth,    62 
Robinson,   Florence,  294 
Robinson,   Forrest,   40,   236,   270, 

288 
Robinson,    Frederic,    48,    54,    89, 

97,   118,   141,  206 
Robinson,  Margaret,  23,  287 
Robson,  E.  M.,  275 
Robson,  May,  38,  70,  146,  159 


Sinbcjt:^ 


325 


Robson,      May     Waldron.        See 

May   IValdron 
Robson,     Stuart,     54,     126,     127, 

149,   150,   198,   199,  24s,  280 
Rochester,  N.  Y.,  83 
Rock,  Charles,  194,  207 
Rockwell,   C,  211 
Rockwell,  Florence,  198 
Rodgers,  James,  16 
Roe,  Bassett,  16,  71,  72,  221 
Roebuck,    INIabel,    122 
Rogers,  Katherine,   54 
Koman-     d'un      Jettne      Hoynme 

Pauvre,  45 
Rooke,  Irene,  233,  266 
Roosevelt,    Maude,   95 
Root,    Grace,   217 
Rorke,   Kate,    78,    206,   222,   257, 

279 
Rorke,   Mary,   144 
Rose,  Annie,  108 
Rose,  Edward,   218,  285,   286 
Rose,   Edward  E.,   139,  227,  228 
Rose,   Harry,   234 
Rosedale,  230,  231,  284 
Roselle,   Amy,    16,   241 
Rosemary,  231,  232,  233 
Rosene,    Charles,    101,    102,    103, 

104 
Rosenfeld,  Sydney,  19,  21,  245 
Rosier,  J.  A.,   150 
Ross,   Herbert,  279 
Ross,   Hope,   271 
Rostand,  Edmond,  3,  75,  77 
Rothschild,   Baron   Alphonse   de, 

189 
Rousseil,  Mile.,  18 
Rowe,  Bolton,  134 
Rowland,    Ellen,    293 
Royal  Family,  A,  233,  234 
Royce,    Brigham,   95,    235 
Royle,  H.,  240 

Royston,   Arthur,   5,   216,   220 
Royston,  W.  B.,  268 
Riidd,   Darwin,    9,    151 
Rupert    of    Hentzau,    234,    235, 

236 
Rush,  Cecile,   53 
Russell,   Agnes,  279 
Russell,    Annie,    23,    57,    59,    97, 

233,    234 
Russell,  Fulton,   123,  259 
Russell,    Harold,    233 
Russell,    Hattie,    192,    226,    246, 

259 
Russell,  Howard,    121 
Russell,  R.  H.,  193 
Russell,   Sol   Smith,   22,   23,  43 
Russell,   Tommy,    155 

21* 


Ryan,  Kate,  43,  48,  93,  155,  250 

Ryder,  John,  35 

Rynar,  Henry,  213,  284 


Sadler's  Wells  Theatre,  London, 
120 

Sag  Harbor,   236,   237,   238 

St.  Ange,  Josephine,   182 

St.    Charles's   Theatre,    New   Or- 
leans,  106 

St.  Clair,  Bertha,  167 

St.     James's     Theatre,     London. 
See  London 

St.  Louis,  252,  262,  292 
Grand  Opera  House,  252 
Olympic  Theatre,  292 

Saker,  Annie,  286 

Saker,  Miss  E.,  275 

Saker,  H.,   107 

Saker,    Rose,    108 

Salisbury,  J.,  92 

Salvini,   Alexander,   62,   97,    142 

Salvini,  Tommaso,  83,   136 

Sampson,  William,  23,  84,  171 

Sand,  George,  6,  58,   106 

Sandeau,  Jules,  189 

Sanford,    Eleanor,    234 

San  Francisco,  45,   56,   iii,   175, 
225,  281,  287 
Alcazar   Theatre,    1 1 1 
California  Theatre,  281 
Metropolitan   Theatre,    175 

Santley,  Fred,  223 

Saratoga,  238,   239 

Sardou,   V'ictorien,  88,   104,    105, 
108,  109,  134,  272,  273 

Sargeantson,  Kate,  6 

Saunders,   Mrs.   Elizabeth,  281 

Saunders,  Westropp,  167 

Saville,  J.  G.,  57,  147 

Saville,  Kate,  263 

Savoy  Theatre,  New  York,  1S5 

Scallan,  William,  loi 

Scarlet  Letter,  The,  180 

Schable,  Robert,  240 

Schell,  Hattie,   S3 

Schonthan,  Franz  von,  210,  246 

School,   130,   132 

Schoolmistress,  The,  4 

Scott,  Agnes,  253 

Scott,    Bessie,    198 

Scott,  Clement,  88,   134 

Scott,  Cyril,   120,  125 

Scott,  Gilmore,  96,  298 

Scott,  Grayce,  226 

Scott,   Rita,    198 

Scott,   Walter,    100 

Scribe,   Eugene,  224 


326 


ginbej:. 


Second   in   Command,    The,   239, 

240,  241 
Second  Mrs.  Tanqueray,  The,  4, 

177,  216,  241,  242 
Secret  Service,  12,  243,  244,  245 
Sedgwick,   Francis,   57 
Sedley,  Henry,   175 
Seidl,   Anton,   9 
Selby,  Charles,  174 
Seligman,  INIinnie,  97 
Selten,  Kate  Pattison,   i,  98,  160, 

219 
Selten,    Morton,    i,    78,    98,    160, 

218,  250,  251 
Selwvn's    Theatre,     Boston,     54, 

118 
Senator,  The,  245,  246 
Serrano,  Vincent,   10 
Setchell,  Dan,  196 
Seven-Twenty-Eight,    246 
Seward,   Emily,    147 
Seymour,    William,    23,    80,    113, 

171,   257,   258 
Shable,   Robert,   227 
Shaffer,  Margaret,  137 
Shaftesbury      Theatre,      London, 

141,   181,   182 
Shannon,  Effie,  62,  90,  250 
Shannon,  J.  W.,  89,  210 
Sharpe,    Annette,    179 
Shaughraun,    The,    15,    247,    248, 

249 
Shaw,    George    Bernard,    12,    13, 

14,  36,  85,  87,   193,  232 
Shaw,   Mary,  38,   270 
Shea,  Thomas  E.,  35,  94 
Sheldon,    Suzanne,    133 
Shelton,   George,  274 
Shenandoah,   249,    250,    251 
Sheridan,  Emma,  93,  94,  211 
Sheridan,   Grace,   55 
Sheridan,  W.   E.,   17,   162 
Sherlock,   Mary,    118 
Sherlock  Holmes,  251,  252 
She  Stoops  to  Conquer,  198,   199 
Shewell,  L.  R.,  53,  104,  105,  231, 

281 
Shirley,  Mr.,   121 
Shore  Acres,   236 
Short,   Frank,    151 
Short,   H.   Hassard,  240 
Shotwell,  Marie  D.,  219 
Sidney,  T.,   182 
Sienkiewicz,  Henryk,  225,  226 
Sign  of  the  Cross,  The,  252,  253, 

254 
Silver  King,   The,   254,   255,    256 
Silver  Spoon,  The,  132 
Silverstone,  Joseph,   11 1 


Simon,    Charles,   297 
Simpson,  Palgrave,   164 
Simpson,    William,    226 
Sims,  Albert,    128,    169 
Sims,   George   R.,    152,    153 
Sinclair,  Mrs.  C.  N.,  176 
Sinclair,   Florence,    179 
Sinclair,  Henry,  247 
Singleton,  Anne,  20 
Siraudin,   Mens.,   163 
Sissons,   William,   287 
Sittenrichtcr,   Die,   2j 
Skerrett,  Edythe,  30 
Skerrett,    Fanny,    92 
Skerrett,  Mrs.,   262,   285 
Skinner,    Otis,    79,    80,    116,    117, 

168,    170 
Skipworth,  Alison,   7,  217,  275 
Sleath,  Herbert,  240 
Smedley,   Mr.,   109 
Smiley,   R.,  21 
Smith,  Albert,   74 
Smith,  Arden,    162 
Smith,  Beaumont,   198 
Smith,   C.   Aubrey,   193,   194,  216 
Smith,  Harrj'  A.,   279 
Smith,    J.    Alfred,    53,    92,     149, 

210 
Smith,  Mark,   124,  298 
Smith,   Percy,    240 
Smith,    Mrs.    Sol,    71,    72,    236, 

238 
Smith,  William  B.,  30,  go,  244 
Smith,   Mrs.   W.   H.,    196,   262 
Snyder,  Matt,  287 
Snyder,  Rose,  287 
Society,  50,  204 
Somerset,  C.  W.,   128 
Sophia,  256,  257,  258 
Sorelle,  William  J.,   133 
Sothern,  Edward  A.,  82,  83,  130, 

131,   132 
Sothern,   Edward   H.,    i,    78,   98, 

99.     133.     159,     160,    201,    203, 

218,    219,    266,    267 
Sothern,  .Tanet  Evelyn,   166 
Sothern,  Sam,  218,  276 
Sothern,  Mrs.,   202 
Soiinds,   Martin,    198 
Speakman,  Walter,   152,  254 
Spear,  Harry,   in 
Spencer,  Frederick,   156,   223 
Spencer,  George  Soule,  186 
Spiller,   Emily,   179 
Spinney,  Lucy,  122 
Spong,   Hilda,    7,    146,   276,    277, 

292 
Squire,  The,  258,  259,  260 
Standing,   Ellen,  216 


S'litJcr. 


327 


Standing,  Guy,  69,  156,  158,  184, 

240 
Standing,  Herbert,   150,  151,  264 
Standish,  S.  W.,   149 
Stanford,  Harry  B.,   113 
Stange,   Stanislaus,  225,  226,  227 
Star  Theatre,  Buffalo,  129,  139 
Star    Theatre,     New    York,     35, 

100,    14s,    220,    242,    245,    250, 

251 
Stedman,  Marshall,  i 
Steer,  Janette,    151 
Stein,  Geoffrey,   185 
Stephens,    Robert    N.,    97,    98 
Stephens,  W.  H.,  100 
Stephens,  Yorke,   12 
Stephens,  Mrs.,  152,  214 
Stephenson,  B.  C,  88,  134,  135 
Stephenson,  C.  H.,  69 
Stephenson,  H.,   178,   179 
Sterling,   Mr.   and   Mrs.   Arthur, 

61 
Sterling,   Richard,   192 
Stevens,    Edwin,    1 7 1 
Stevens,   Emma,  90 
Stevens,  Ogden,  127,  198 
Stevens,   Sara,   73,   202,  279,  288 
Stevenson,   Charles  A.,  95,  298 
Stevenson,  R.  L.,  93,  94 
Stewart,    Grant,     146,    217,    277, 

292 
Steyne,  C.,  259 
Still  Waters  Run  Deep,  260,  261, 

262,  263,  264,  26s 
Stirling,   Edward,    160 
Stoddard,  Lorimer,   126,  137,  269 
Stoddart,  J.  H.,  48,  52,   107,   195, 

206,  214 
Stoddart,  Mrs.  J.  H.,   107,   197 
Stokes,   Henry,   66 
Stonehill,'   Leonora,    32 
Storey,  Jessie,   127 
Story  of   Waterloo.  A,  263,  266 
Straggler  of  '15,  The,  265 
Strand  Theatre,  London,  45 
Stratz,   Rudolph,   71 
Stringham,   Sadie,   288 
Strong,  Frederick,  27 
Stuart,  E.  L.,  71 
Stuart,  James,  292 
Stuart,  Jane,   24;;,   246 
Studley,  J.  B.,  284 
Sturges,  J.   B.,  66 
Sudermann,   Hermann,   6,    167 
Sullivan,  82 

Sullivan,   John   T.,    93,    188 
Sullivan,   T.    Russell,   93 
Summerfield,  Mr.,  22 
Sumner,  Engle,  226 


Sumner,  John  R.,  69,  159 
Sunken  Bell,  The,  266,  267 
Surrey,  Imogen,  6 
Sutherland,   Anne,    22,    29S 
Sutherland,    Birdie,    121 
Sutherland,  Evelyn   G.,  28 
Szceet  Lavender,   268 
Sweetland,   Eugene,   137 
Sylvester,  George,   184 
Sylvester,  ^\'illiam,  225 
Sylvester,  Miss,  214 
Sylvie,  Miss,  210 

Tabb,  Mr.,  143 

Taber,  H.  S.,  7,  217,  277 

Taber,  Robert,  136,  226 

Talbot,  Henry,  218 

Talbot,  Mary,  242 

Tannehill,   Frank,  Jr.,   126 

Tanner,  Cora,  114 

Tapping,  A.,  34,  162 

Tarkington,  Booth,  28,  29 

Tarleton,   Ernest,  4,  37,  49,   127 

Tarr,  Edward  S.,   loi,   102 

Tartuffe,  6  ■ 

Tarver,  E.  W.,  178,  179 

Tassin,  Algernon,  24,  71 

Taylor,  E.  F.,  261 

Taylor,  Longley,  235 

Taylor,  Miss  R.,  109 

Taylor,  Tom,  201,  202,   203,  260, 

261,  262,  265 
Tearle,  Osmond,  89,   114 
Tempest,  A.  Vane,   79,   150,   151, 

216,  240,  241 
Temple,   Rose,   104 
Ten  Eyck,  Kate,  157,  252 
Tennyson,  Alfred,  97,    142 
Tentation,  La,  45,   147,   148 
Terric,  C,   151 
Terriss,   Ellaline,   4,    16 
Terriss,     William,     15,     16,     161, 

200,  244,  247,  264 
Terry,  Edward,  268 
Terry,    Ellen,    35,    100,    loi,    143, 

14s,  200,  201,  263 
Terry,   Fred,   5,   77,   194,  274 
Terry,  Kate,   164 
Terry,  Marion,  169,   180,  258 
Terry's    Theatre,     London,     268, 

269 
Tess   of   the   D'Urbervilles,    269, 

270 
Tcte  de  Linottc,  La,  108 
Thackeray,  W.  M.,  32,  44 
Thalbcrg,  T.   B.,   150,   151,   291 
Thatcher,  Carrie,   113 
Theodora,   108 
Thill,  Helen,  298 


328 


Slnbcjc. 


Thoman,  Jacob  W.,  43,  loi,  102 
Thomas,  Augustus,  9,  10,  11,  12, 

15s,  197,  198,  199 
Thomas,  Berte,  279 
Thomas,    Brandon,   268 
Thomas,  E.  W.,  235 
Thomas,  Gladys,  76 
Thomas,  Jane,  251 
Thomas,  Walter,  243,  244 
Thomas,    Mr.,    128 
Thompson,  Blanche,  171,  212 
Thompson,  Charlotte,  73 
Thompson,  Connie,   loi 
Thompson,   Hallett,   185 
Thompson,  Laura,  128 
Thompson,  Lvdia,   103 
Thompson,  Miss  L.,  214 
Thompson,  Theodore,   185 
Thompson,    W.    H.,    7,    120,    121, 

156,    177,  234 
Thorndyke,   Louise.      See  Louise 

Thorndyke  Boitcicault. 
Thorne,  Charles  R.,  Jr.,  43,  149, 

176,  280 
Thorne,  P'red,  193,  194,  223,  257, 

276 
Thorne,  Nellie,  39,   129,  207 
Thorne,  Thomas,  257 
Thornton,  Florence,  9 
Thorold,  VV.  J.,  293 
Thorpe,  Charles,  293 
Thorpe,  Morgan,  57 
Thurgate,  Lillian,  70,   159 
Thurlow,   Lillie,  253 
Tidball,  Gertrude,  294 
Tiffany,   Arthur,   220 
Tindale,  Mr.,  204 
Titheradge,  G.  S.,  179 
Toland,  Hugo,  298 
Toledo,  Ohio 

Valentine  Theatre,  223 
Toler,  Sydney,  293 
Tom  Jones,   256 
Too    Mitch    Johnson,    270,    271, 

272 
Toole's  Theatre,  London,  79 
Torrance,  David,  292 
Tosca,  La,  272,  273 
Townsend,  Charlotte,  227 
Tracy,  Helen,  7,   125,   132,  298 
Trader,  George,  40 
Trafford,   Mr.,   204 
Tree,     Beerbohm,     46,     47,     48, 

77,  78,  132,  141,  278,  279 
Tree,    Mrs.    Beerbohm,    46,    47, 

48,    128 
Tree,  Ellen,  67 
Tree    of    Knowledge,    The,    2y2> 

274.  275 


Trelawny  of  the  Wells,  275,  276, 

277 
Tremont    Theatre,     Boston,     22, 

144,  220 
Trent,  Gilbert,   169 
Trevor,  Charles,   122 
Trilby,  277,  278,  279 
Triple  Alliance,  The,  224 
Triumph  of  the  Philistines,  The, 

177 
Trollope,  Anthony,  91 
Trollope,   G.   A.,   240 
Truesdale,   Howard,   226 
Truesdell,   Frederick,  38 
Tucman,  Bertha,   289 
Tupper,  Sheridan,  84 
Turner,  Cicely,  279 
Turner,  Mr.,  233 
Turtle,  Miss,   138,  200 
Twibill,  Miss   (Mrs.  Flynn),  229 
Tzvo     Orphans,     The,    279,    280, 

281,  282 
Tyars,   Frank,    143,    162,   200 
Tyler,  F.  H.,  220,  221,  232 
Tyler,  Odette,   120,   121,  243,  251 
Tynan,  Brandon,  227 
Tyndale,  Eleanor,  225 
Tyranny  of  Tears,  The,  282,  283 
Tyree,  Elizabeth,  5,  7,  37,  49,  78, 

152,  217,  277,  296 
Tyrel,  Mr.,  233 

Ultimo,   39,   40 

Under  the  Gaslight,  283,  284,  285 

Under  the  Red  Robe,   285,   286, 

287 
Under  Two  Flags,   287,   288 
Union      Square     Theatre,      New 

York,    45,    61,    126,    148,    149, 

191,  280 
Urhart,  Miss,   147 
Urquhart,  Isabel,  123 

Vaders,   Emma,   127 
Valentine,   Sydney,   143,  285 
Valentine,  Thomas,  157,  268,  269 
Van  Benthuysen,  Edith,  96 
Vanbrugh,  Irene,  119,  151,  275 
Vanbrugh,  Violet,  6,   79,  290 
Vandenhoff,  H.,   15 
Van  Dresser,  Marcia,  117,  137 
Van  Duser,   Susie,   137 
\'ane,   Charles,   32,    133 
Vane,  Lilla,  251 
Vane,   Miss,   138 
Vanity   Fair,   32 
Varian,  Nina,  39,  190 
Varieties  Theatre,   New  Orleans, 
73 


STnbcr* 


329 


Varrey,  Edwin,  201,  225 
Vaudeville  Theatre,  London,  SS, 

174 
Vaughn,  Susie,  129,  166 
N'erity,   Agnes,    182 
Vernon,      Mrs.      George      (Jane 

Fisher),   43,   52,   230 
Vernon,  Ida,  241,  243 
Vernon,  May,  101 
Vernon,    \V.    H.,    45,    219,    224, 

274,  289 
\  ernon,   Mr.,   109,  276 
Vcrre  d'Eau,  Le,  224 
Versuiikcne  Glocke,  Die,   266 
Vestris,   Mme.,  42 
Vezin,    Hermann,    35,    61,     164, 

200 
Vicar  of  Wakefield,  The,  200 
Victor,  Mrs.  M.  A.,  268 
Vincent,   Eva,   20,   277,   292 
Vincent,  H.  H.,  146,  2:6 
Vincent,   Mrs.  J.   R.,   55,  61,  92, 

107,    118,    149,    201,    210,    212, 

231,  262 
Vining,   Emily,   108,   232 
Vining,    Fanny.      See    Mrs.    Ed- 

■ward  L.  Davenport 
Vining,  George,   16,  260 
Vining,   James,   67 
Mnton,    Miss,    210 
Vislaire,    IMiss,     147 
Viveurs!   58 
Vivian,  Dora,  254 


Wainwright,     Marie,     105,     116, 

118,  137,  201 
Waite,  W.,  152 
Walcot,     Charles     (elder),     214, 

215,  262 
Walcot,  Charles  (younger),  4,  7, 

49,  62,  217,  219,  268,  27s,  277, 

29s 
Walcot,   Mrs.    Charles,    s,   7,   37, 

49,  62,  146,  217,  268,  277,  29s 
Waldauer,  August,  106 
Waldron,  G.  B.,  80 
Waldron,  May,  127 
Walker,   Charlotte,  95 
Walker,  Leonard,  225 
Wallace,  Frederick,  66 
Wallace,  Lew,  38 
Wallack,  Henry,    160 
Wallack,  James  W.,  Jr.,  3S,  263 
Wallack,  Mrs.  James  W.,  Jr.,  263 
Wallack,  Lester,  52,  S4.  89,  132, 

202,    203,    205,    214.    215.    230. 

231 
Wallack's    Theatre,    New    York, 


20,    52,    55,    89,    95,    114,    115. 

139,    140,    186,    20s,    208,    214, 

223,  230,  247,  257,  262 
Waller,  G.,  233 
\\'aller,  Lewis,  221 
Waller,   i\Irs.   Lewis,  270 
Wallis,   Bertram,   5 
Wallis,   Gladys,    107,    246 
Walsh,    Blanche,    7,    23,    69,    71, 

244.  273 
Walters,  Augusta,  121 
Walton,  E.  L.,  32,  278 
Ward,    Genevieve,    48,    113,    114, 

132,   143,   144,  224 
Warde,   Ernest,   29 
Warde,    Frederick,    117 
Waring,  Herbert,  2,  64,  128,  138, 

219,  24s,  285 
Warner,  Grace,  88,  253 
\\'arner,  Mrs.,   136 
Warren,   Adelaide,    138 
Warren,  Rebecca,   i,  99,   266 
Warren,  William,   17,  43,   53,  55, 

61,  92,  107,  118,  149,  173,  196, 

201,  209, -231,   249,  262 
Warrilow,  Maud,  253 
Warwick,  Henry,  66 
Washburn,  Bert,   198 
Washington,  D.  C,  2,  63,  78,  95, 

113,  120,  125,  156,  204,  297 

Ford's  Theatre,  204 

Grand  Opera  House,    125 

Lafayette  Square  Theatre,  156, 
297 

National  Theatre,  95,  120 
Waterloo,    266 

Waterman,  Ida,  3,  32,  223,  243 
Watson,  Henrietta,  180 
Watson,  Ivan,   182 
Way  Down  East,  288,  289 
Weaker  Sex,  The,  289,  290,  291 
Weatherly,  Alec,  233 
Weathersley,  Eliza,  104 
Weaver,  Blanche,   113 
Weaver,  Henry  A.,  Sr.,  96,   198, 

199 
Weaver,  Joseph,  29,  86 
Webb,  I5eresford,  96,  287 
Weber,  J.  L.,  7 
Webster,  Ben,  144,  241 
Webster,   Benjamin,   174 
Webster,  Charles,   191 
Webster,  George  P.,  279 
Webster,  John,  Jr.,    127 
Webster,  Miss,  128,  138 
Weed,  Robert,  5,   177,   181 
Weir,  Charles,  245 
Welbv,  Bertha,  278 
Welch,  James,  12,  231 


33° 


S(nticjc, 


Welch,  Miss,   144 

Weldon,  Mortimer,  113 

Wells,   Mary,   68,    118,    176,   202 

Wells,  Venie,    1 1 1 

Wenman,    Thomas   N.,    loi,    134, 

200,  201,  259,  264 
Wessels,  George,  251 
West,  Madge,  287 
Westcott,   Edward  Noyes,  83 
Weston,  Frank,  39 
Weyman,   Stanley,  285,   286 
Weyms,  Julius,  251 
Whalley,  W.  H.,  107 
Wharton,  Belle,  211 
What  Will  He  Do  With  It?  230 
Wheatcroft,  Nelson,  62,   120,  295 
Wheatleigh,   Charles,   68 


Wheelock,  Joseph,  i§7 
'Vheelock, 
184,  i8s 


Wheelock,   Joseph 


197 
,    Jr., 


69.    159, 


Wheels  within   Wheels, _  291,  292 
When  Knighthood  was  in  Flower, 

25,  292,  293 
When     We     Were    Twenty-One, 

293,  294,  295 
Whiffen,  Mrs.  Thomas,  5,  27,  62, 

146,  217,  268,  27s,  277,  295 
Whiffen,   Thomas,  Jr.,   274,    277 
White,  Eugene,  7 
White,   J.    H.,    260 
Whiting,  David,  91,  115,  238 
Whiting,  Joseph,  29,  97 
Whitman,  Frank,  262 
Whittemore,  H.  P.,  155,  269 
Whittlesey,  White,  122,  123 
Whitty,  May,  245 
Whytal,  A.  Russ,  127,  171 
Wickliffe,  Florence,   294 
Wieder  in   Weissen  Roess'l,  20 
Wife,  The,  295,  296 
Wife's  Peril,  A,  134 
Wigan,  Mrs.  Alfred,  260,  263 
Wigan,  Arthur,  260,  263 
Wigan,  Horace,   132 
Wigley,  Alfred,  279 
Wigley,  Sadie,  279 
Wilde,  Oscar,  146,  147 
W'ilkesbarre,  Pa.,  22 
Wilkins,    Marie,    125,    280,    281 
Wilkinson,  E.  H.,  277 
Wilkison,  W.  M.,   193 
Wilks,  Edward  P.,  37,   165,   167, 

259 
Wilks,  J.  Egerton,  67 
Willard,  E.  S.,  83,  141,  152,  153, 

182,   183,  220,   221,  254,  255 
Willes,  John,   180 
Willett,   Edwin,   292 
Williams,  Arthur,   178 


Williams,    Ettie,    253 

Williams,   Eva,   36,   276 

Williams,  E.  B.,  263 

Williams,   Fred,   118 

Williams,  Fritz,  4,  37.  49.  62, 
296 

Williams,  John,   227 

Williams,  Malcolm,  126 

Williams,  Odell,  90,  125,  289 

Williams,  Zenaide,  32 

Williamson,  J.  C,  15 

Wills,  William  Gorman,  99,  100, 
144,  200 

Wilson,  Charles  J.,  38 

Wilson,  Eva,  79 

Wilson,  George  W.,  43,  53.  62, 
80,  93,  133,  154.  156,  211.  212, 
231,  248,   249,  257,   269 

Wilson,  James  E.,  127 

Wilson,  Katherine,   24,  71,  293 

Wilton,   Ellie,   127,   234 

Wilton,  Henry,  244 

Wilton,  Marie.  See  Mrs.  Ban- 
croft 

Winter,  Chalis,  29 

Winter,  C,  2z:i 

Winter,  Joseph  P.,   198 

Winter,  Percy,  225 

Winter,  William,   28,  74 

Winter  Garden,  New  York,  73, 
194 

Winthrop,    Ethel,   66 

Wintner,   Helen,   126 

Wise,  Thomas  A.,  127 

Wood,  Douglas  T.,  20 

Wood,  Ella  Hugh,  289 

Wood,  Mrs.  John,  73,  79,  i.ti, 
169,    176 

Woodall,  W.   B.,   218 

Woodruff,  Henry,  48,  186,  206, 
244,  277,  293 

Woodthorpe,  L.  E.,  293 

Woodward,   George,   24,  64,   127, 

237 
Woolgar,   Sarah,    174 
Workman,  William,  69,  159 
Worley,  Master,  152 
Worrell,  William,  283 
Worrell  Sisters,  285 
Worthing,     Frank,     57,     59,     65, 

i6s 
Wright,  Edith,  270 
Wright,  G.,   152 
Wright,  Haidee,  253 
Wright,   Harry,   66 
Wright,  Stephen,  113 
Wright,    Mrs.,    285 
Wyatt,   Carrie,   281 
Wyman,  M.  C,  235 


g'nbcr. 


oo- 


Wyndham,  Charles,  25,  49,  77, 
83,  108,  150,  1S3,  231,  232, 
239,    263,    264,    282 

WjTidhain's  Theatre,  London,  77, 
79,  151,  183 

Yardley,  William,  271 
Yates,    Edmund,    164 
Yearance,  Ida,  91 
Yonge,  Frederick,  51,  204 


Yorick's  Love,  296,  297 
Yorke,  Oswald,  240 
Yorke,  Mr.,   170 
Young,   Sir  Charles,   140 
Young,  James,  76,  122 
Young,  J.  F.,  138 
Young,  William,  38 

Zaza,  126,  166,  297,  298 
Zola,  £mile,  60 


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